Through musical analysis of compositions written between the mid-twelfth to late nineteenth centuries, this volume celebrates the achievements of eight composers, all women: Hildegard of Bingen, Maddalena Casulana, Barbara Strozzi, Élisabeth Jacquet de la Guerre, Marianne Martines, Josephine Lang, Fanny Hensel, Clara Schumann, and Amy Beach. Written by outstanding music theorists and musicologists, the essays provide fascinating in-depth critical-analytic explorations of representative compositions, often linking analytical observations with questions of meaning and sociohistorical context. Each essay is introduced by a brief biographical sketch of the composer by the editors.
The collection-Volume 1 in an unprecedented four-volume series of analytical studies on music by women composers-is designed to challenge and stimulate a wide range of readers. For academics, these thoughtful analytical essays can open new paths into unexplored research areas in the fields of music theory and musicology. Post-secondary instructors may be inspired by the insights offered in these essays to include new works in music theory and history courses at both graduate and upper-level undergraduate levels, or in courses on women and music. Finally, for soloists, ensembles, conductors, and music broadcasters, these detailed analyses can offer enriched understandings of this repertoire and suggest fresh, new programming possibilities to share with listeners.
This collection of in-depth analytical essays celebrates music by female composers from the twelfth to nineteenth centuries. The essays, written by leading music theorists and musicologists, examine select compositions in detail, collectively establishing a foundation for new scholarly research into outstanding compositions created by women.
This new volume of analytical essays edited by Parsons and Ravenscroft is valuable, timely, and impressive. Nine leading scholars provide incisive chapters on music from the 12th to the 19th centuries, revealing deep sensitivity to music and text, masterful counterpoint, compelling narrative, virtuosic metric shifts, Schenkerian poetics, and imaginative genius. I recommend it for undergraduate and graduate courses in music analysis, and as a model and inspiration for further research.
