The Routledge Handbook of Women’s Work in Music

Rhiannon Mathias is a lecturer and music fellow at Bangor University, UK, and director of the International Conferences on Women’s Work in Music (2017, 2019, 2021, Bangor University).

Editor’s Introduction

Part I: Challenging Gender Inequalities






Sophie Fuller, Grace, Betty, Maude and Me: 30 Years of Fighting for Women Composers



Susan Wollenberg, ‘Where Are We Now?’: Teaching and Studying Women Composers post-Citron



Helen Elizabeth Davies, ‘Because I’m a Girl’: Exploring Experiences, Practices and Challenges Relating to Gender and Sexuality for Female Musicians in Popular Music Higher Education



Emily Doolittle, Composer, Mother



Stephen Wilford, ‘The Algerian woman is very strong’: Music, Identity and Gender in Algerian London



Valentine Harding, In Search of the Field: Reflections on an Ethnomusicological Project in India



Christina Homer, Women’s Work in Ethnomusicology: Alternative Spaces
Part II: (Re)Discoveries




Zaina Shihabi, A Brief Historical and Sociological Examination of Twentieth-Century Arab Women Composers and Performers in Egypt



Sally Macarthur, The Rise and Rise of Women in Australian Composition



Susan Clauson-Elliott, Women Composers and the Proms: The First 100 Years (1895–1994)



Claudia Chibici-Revneanu, Chasing María Teresa Lara: An Autoethnographic Account of Trying to Recuperate the Story of a ‘Lost’ Woman Composer



Joanna Schiller-Rydzewska, The Artistic Path and Achievement of Polish Composer Ewa Synowiec



Eva M. Maschke, Composer, Performer, Teacher: Jeanne Barbillion (1895-1992) and the Schola Cantorum de Paris



Elisabeth Honn Hoegberg, How Theocritus Sang: Eleanor Everest Freer’s Sonnets from the Portuguese



Rhian Davies, A Life in Fragments: Morfydd Owen (1891–1918)
Part III: Aesthetics and Music Creation




Rebecka Sofia Ahvenniemi, Overcoming the ‘Male Gaze’ of Music: Towards Renewed Compositional Strategies



Isabel Nogueira, Voices, Sounds and Herstories: Constructing Feminist Research in Experimental Music



Angela Elizabeth Slater, Invisible Canons: A Reflective Commentary on the Formation of my Personal Canon of Women Composers



Lucy Hollingworth, Storytelling in Autoethnography – The Poetess



J. Michele Edwards, Chen Yi: Trauma, Myths, and Representation



Laura Dallman, Considering Autonomy and Collaboration in Three Concerti by Jennifer Higdon



Ji Yeon Lee, Decoding the Riddle: The Tea-Party Scene in Unsuk Chin’s Alice in Wonderland



David Forrest, Kate Bush’s Uncanny Harmonic Language
Part IV: Performance and Reception




Bella Powell, Notions of Virtuosity, Female Accomplishment, and the Violin as Forbidden Instrument in Early-Mid Nineteenth-Century England



Nuppu Koivisto, Visitors from ‘the Merry Town by the Danube’: Viennese Ladies’ Orchestras, Public Image and Variety Shows in Finland from 1870 to 1914



Maren Bagge, Women Song Composers and the London Ballad Concerts



Ivette Janet Céspedes Gómez, Sara Gonzáles: A Different Song About Women



Grace Takyi Donkor, Changing Roles of Women in the Gospel Music Performance Space in Ghana



Maree Sheehan, Māori Women at the Forefront of Aotearoa/New Zealand Music in the Mid 1980s and Early 1990s



Li-ming Pan, The Stereotypical Image and Body Representation of Taiwanese Female Musicians
Part V: Opportunities and Leadership in the Music Professions




Jessica Duchen, Climb Every Mountain



Edwina Wolstencroft, Celebrating Women Composers on BBC Radio 3



Miia Laine, Contested Spaces: Gender Dynamics in Independent Radio Stations in London



Karlyn King, ‘And her voice is a backwards record’: The Gendering of Phonograph Technology



Carolyn Watson, Cracks in the Glass Ceiling: Women Conductors, New Trends, Old Challenges



Frances Novillo, Personal Reflections on Professional Experience of Women’s Liturgical Leadership as Musicians in the Roman Catholic Church



Gabriela Sanchez Diaz, Re-Mapping and Connecting Bodies of Women Musicians
Part VI: New Perspectives on Women’s Work in Music




Yuemin He, Materiality, Editorship and Canonisation in Wang Duanshu’s Collection of Elegance (1667)



Jennifer Cable, Mary Carlisle Howe (1882–1964) and Adella Prentiss Hughes (1869–1950): Creating an Arts Culture in America, One Woman at a Time



Elina G. Hamilton, Louise Hanson-Dyer (1884–1962): Patroness of Music Publishing



Lia Lonnert and Helen Davies Mikkelborg, Lady Llanover and the Swedish Connection: A Welsh Musical Legacy



Jessica Beck, The Women Musicians of the British Ethical Movement, 1887–1927



Kirstie Alison Muldoon, The Role of Women in Irish Music Institutions in the Early Twentieth Century



Helen C. Thomas, The Beedle-Carter Correspondence: An Analysis of the Cultural Work Undertaken by Maureen Beedle to Promote Elliott Carter’s Music in the UK and Europe