Analytical Essays on Music by Women Composers: Concert Music, 1960-2000 is the first to appear in a groundbreaking four-volume series devoted to compositions by women across Western art music history. Each chapter opens with a brief biographical sketch of the composer before presenting an in-depth critical-analytic exploration of a single representative composition, linking analytical observations with questions of meaning and sociohistorical context. Chapters are grouped thematically by analytical approach into three sections, each of which places the analytical methods used in the essays that follow into the context of late twentieth-century ideas and trends. Featuring rich analyses and critical discussions, many by leading music theorists in the field, this collection brings to the fore repertoire from a range of important composers, thereby enabling further exploration by scholars, teachers, performers, and listeners.
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|Publisher:||Oxford University Press|
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About the Author
Laurel Parsons has taught music theory and aural skills at the University of Victoria, the University of British Columbia, Queen's University, and the University of Oregon. Her research interests include aural skills pedagogy and the serial music of Elisabeth Lutyens. From 2012-15 she chaired the Society for Music Theory's Committee on the Status of Women.
Brenda Ravenscroft is Associate Professor of music theory and Associate Dean of Teaching and Learning in the Faculty of Arts and Science at Queen's University. Her research focuses on post-tonal American music, text and music, rhythmic organization, and pedagogy. She chaired the Society for Music Theory's Committee on the Status of Women from 2006 to 2009.
Table of ContentsAcknowledgments
About the Companion Website
Chapter 1. Introduction
Laurel Parsons and Brenda Ravenscroft
Order, Freedom and Design
Chapter 2. Ursula Mamlok, Panta Rhei, Third Movement (1981)
"Twelve Tone in My Own Way": An Analytical Study of Ursula Mamlok's Panta Rhei, Third Movement, with Some Reflections on Twelve-Tone Music in America
Joseph N. Straus
Chapter 3. Norma Beecroft, Improvvisazioni Concertanti No. 1 (1961)
Improvvisazioni Concertanti No. 1 by Norma Beecroft: Serialism, Improvisatory Discourse, and the Musical Avant-Garde
Chapter 4. Joan Tower, Silver Ladders (1986)
"Octatonicism," the Octatonic Scale, and Large- Scale Structure in Joan Tower's Silver Ladders
Jonathan W. Bernard
Gesture, Identity and Culture
Chapter 5. Sofia Gubaidulina, String Quartet No. 2 (1987)
"Difference Inhabits Repetition": Sofia Gubaidulina's String Quartet No. 2
Chapter 6. Chen Yi, Symphony No. 2 (1993)
The Transformative Power of Musical Gestures: Cultural Translation in Chen Yi's Symphony No. 2
Nancy Yunhwa Rao
Music, Words and Voices
Chapter 7. Kaija Saariaho, "The claw of the magnolia..." From the Grammar of Dreams (1988)
Superposition in Kaija Saariaho's "The claw of the magnolia..."
Chapter 8. Libby Larsen, Chanting to Paradise (1997)
Music as a Mirror: Libby Larsen's Chanting to Paradise
Chapter 9. Elisabeth Lutyens, Essence of Our Happinesses (1968)
This Imaginary Halfe-Nothing: Temporality in Elisabeth Lutyens's Essence of Our Happinesses