By Laura Seddon
This can be the 1st full-length research of British women's instrumental chamber tune within the early 20th century. Laura Seddon argues that the Cobbett competitions, instigated via Walter Willson Cobbett in 1905, and the formation of the Society of ladies Musicians in 1911 contributed to the explosion of instrumental tune written via ladies during this interval and highlighted women's position in British musical society within the years prime as much as and through the 1st international warfare. Seddon investigates the connection among Cobbett, the Society of ladies Musicians and girls composers themselves. The book's six case stories - of Adela Maddison (1866-1929), Ethel Smyth (1858-1944), Morfydd Owen (1891-1918), Ethel Barns (1880-1948), Alice Verne-Bredt (1868-1958) and Susan Spain-Dunk (1880-1962) - supply beneficial perception into the women's musical schooling and compositional careers. Seddon's dialogue in their chamber works for differing instrumental mixtures contains an exploration of formal strategies, a topic a lot mentioned via modern resources. the person composers' reactions to the talk instigated through the Society of ladies Musicians, at the way forward for women's tune, is taken into account in terms of their lives, careers and the chamber song itself. because the composers during this examine weren't a cohesive workforce, creatively or ideologically, the publication attracts on fundamental assets, in addition to the writings of up to date commentators, to evaluate the legacy of the chamber works produced.
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Additional resources for British Women Composers and Instrumental Chamber Music in the Early Twentieth Century
19–20. 17 Ruth A. Solie, Music in Other Words: Victorian Conversations (Berkeley, 2004). , p. 110. 14 Contexts: The Lives of Women Composers 21 day at work. 20 In this period there were still some resonances of eighteenth-century attitudes, as Richard Leppert explains: ‘Overriding questions of ability or interest, the culture demanded music as an appropriate mark of both femininity itself and female class status. ’21 Despite the difficulties faced by women composers, composition often held an important place in their lives.
E. e. e. 59 She argues that only the last meaning of the term could be applied to a feminist reading to define a female genius. It seems early twentieth-century philosophers and psychologists considered the female genius to be an impossibility. Otto Weininger published his thesis, Sex and Character, in 1903, which was translated in 1906 and was read throughout Europe. ‘Whilst there are people who are anatomically men and psychically women, there is no such thing as a person who is physically 56 Katharine Ellis, ‘Female Pianists and Their Male Critics in Nineteenth-Century Paris’, Journal of the American Musicological Society, 50/2–3 (1997): p.
45 Sally Macarthur, Feminist Aesthetics in Music (Westport, Connecticut, London, 2002), p. 3. , p. 20. 47 Jane Bowers and Judith Tick (eds), Women Making Music The Western Art Tradition 1150–1950 (Urbana, 1986), p. 3. 48 Although being a woman does not entitle the writer to speak ‘in the name of women’, it allows her to write with a declared sympathy for her topic, and a sense of objectivity whose limitations are openly acknowledged. 49 The fact that a woman’s composing is an emotive and often difficult issue to write about should not, therefore, be used as justification for simply opting out of the debate.
British Women Composers and Instrumental Chamber Music in the Early Twentieth Century by Laura Seddon