Women in music
Women in music is a term that has increasingly come into focus in the wake of the women's movement since the 1970s. Within women's research , the question of the lack of presence of female creative musicians in historiography and - partly because of this - in today's public practice was raised. At no time and nowhere in the world has there been a lack of creative and cultural activity by women, neither in the popular field, nor in “ art music ” or “ classical music ”. Similar to women in science or politics , musically productive women have only emerged from the shadow of their male colleagues since the end of the 20th century. Answers to the questions about why and how arise from modern gender research . See u. a. Annette Kreutziger-Herr, Melanie Unseld (Ed.): Lexicon Music and Gender: Against the »rectification« of music history and the change in science since 1970 . Historical female composers come to mind, modern female composers and performing musicians develop autonomy and self-image. This applies to conductors , orchestral musicians , singers , church musicians , freelance musicians, music educators as well as instrument makers , musicologists , music journalists , music managers , patrons and others involved in music.
Cultural memory
In the course of the second women's movement in the 1970s, starting in Germany and the USA, the contributions of women to music culture moved into the focus of interest. It turned out that women composers had been "buried in strange ways" in the past. At the first “Berlin Summer University for Women” in 1976, the arts were still largely absent. In 1979 the conductor Elke Mascha Blankenburg , together with other women involved in music, initiated the “ International Working Group on Women and Music ” , which quickly had around 100 members. "A new world of suppressed music history opened up". The international woman and music archive currently (2014) has around 20,000 media units, including works by 1,800 international female composers from the 9th to the 21st century. The Fondazione Adkins Chiti: Donne in Musica , based in Fiuggi (Latio, Italy), houses over 42,000 scores that are cataloged in cooperation with the Italian National Library. Surprising finds from historical music production by women and the results of a meticulous search for traces of the causes of oblivion led to the realization "that some chapters of music history must probably be rewritten and differently".
Musical tradition, as "cultural memory", was largely determined by male selection criteria until the 19th century. "Despite some ( transdisciplinary ) studies, the area of gender-sensitive memory and legacy research in the field of music history is still largely a research desideratum ." Both practicing and music-making musicians have been subject to situation-related clichés and traditional social disabilities for centuries . In addition, there is an imperfect tradition or reception . Although the woman playing music is documented in the oldest contemporary testimonies and the pictorial and literary testimonies of female music were never missing, traditional musicology did not comment on it. Musical life, which is still male today , was thus confirmed as "given by nature". The names of women composers are largely absent from recognized music histories.
As can be seen from European cultural history, the creativity of musicians , conductors and composers was opposed to cultural prejudices, economic restrictions and often malice. The way women conductors were still perceived in the late 20th century shows that they were viewed as “intruders” into a male domain and treated accordingly. “It only turns red at fortissimo” and the like could be read in the review headings after concerts with female conductors.
Since the end of the 20th century, there has been a noticeable rethinking of the artistic freedom of women in professional circles, but this has had little effect on the practical music business.
Music under the "Pauline Commandment"
Obstacles to female music making in Christian and Christianized countries arose through the interpretation of the so-called “ Pauline Commandment”. A passage from the text (1 Corinthians 14:34) was interpreted as the commandment of the Apostle Paul, which was translated as “Mulieres in ecclesiis taceant.” (“The women should be silent in your meetings. ”) On this basis, the participation of women - and thus their music making - was forbidden in Christian worship. Due to new research, for example regarding the project “Basic Bible”, this passage is translated in the singular: “This woman be silent in the congregation”, which does not wrongly mean all women. Other researchers suggest that the passage in 1 Corinthians 14.33b-36 was entered by an editor.
From the third century until the modern era, the prohibition that was passed on at that time was particularly effective in Catholic societies as a music-making ban for women, which indirectly also suppressed the secular practice of music by women and had an impact in non-Catholic communities.
The rejection of the female voice in the church strengthened the castrato character : In contrast to the physical integrity of the singer, the high castrato voice was considered the higher good, higher than the female voice. The choir of the Capella Sistina in Rome initially had falsettists perform for the high voices . The more artistic the music became, the more it was replaced by castrati, although castration , which gave boys the high-pitched voice, was officially forbidden. The women heard the singing in their own voices without having the chance of training in singing like the boys and young men in the cathedral schools .
The 18th century ( enlightenment and encyclopedists ) did not bring women liberation from compulsory roles and “self-inflicted immaturity” ( Kant ), but their role - “ children, kitchen, church ” - was consolidated as “given by nature”. The following passage from Karl Heinrich Heydenreich's book, The Private Educator in Families, How He Should Be, shows that this extended into pedagogy: I consider it to be the educator's duty to suppress the girl's aspiring genius and to prevent it in every way that it does not even notice the size of its facilities. (Double negative: “not”). An exception has always been those female musicians (mostly singers) who were admired as interpreters of the music made by men if they could meet the expectations of the courtly or middle-class music business. In this context, the famous Italian singer Signora Faustina Bordoni was literally announced in the London Journal of September 4, 1725 as the “rival” of the London diva Francesca Cuzzoni . For the first meeting in the opera Allessandro at the King's Theater , the composer Georg Friedrich Handel gave the “rivals” the same number of arias and the same vocal requirements, which did not correspond to the usual formal conventions of opera dramaturgy and fueled the rivalry. In the following year, the partisan, sensational audience incited the two artists alternately by partisan hissing or cheering on to a feud that was carried out on the stage (June 6, 1727). The satirical display (ie making the artists ridiculous) of this "famous" feud contributed to the great success of the so-called "Beggar Opera" by John Gay and Johann Christoph Pepusch - The Beggar's Opera - in 1728 .
White spot on the map of music history
The white spot on the map of music history formulated by Eva Rieger in women, music and male rule refers to neglected, marginalized creative, practical and theoretical shaping of musical life by women. A lexicon of European female instrumentalists of the 18th and 19th centuries, which includes around 700 hitherto little-known musicians (as of 2014), has been developed by the Sophie Drinker Institute in Bremen. This also includes music teachers and composers who mostly worked as professional instrumentalists (and vice versa).
The Répertoire International des Sources Musicales
The catalogs of the Répertoire International des Sources Musicales (RISM, International Repertoire of Musical Sources) contain printed works (Series A / I) and musical manuscripts (Series A / II) by a previously unknown number of female composers. In the RISM, the music repertoire (prints and manuscripts) that can be found in libraries , archives , monasteries , schools and private collections is recorded alphabetically by name (Series A) and systematically by work groups (Series B). Even if the period of European art music from the invention of sheet music printing (2nd half of the 15th century) can be illuminated relatively well, an undisputed number of female composers for this period has not yet been determined. RISM evaluations are scientifically discussed and published by specialized publishers. It is difficult to determine or estimate an approximate number of women composers because the usual search options can only find works by women composers who are already known by name (this also applies to composers).
Search for traces of early female music tradition
In the music of the "primitive peoples" there are no musicians in the specialized sense: all members of the tribe make music together. The music served mainly cultic purposes. Forty temple hymns have been passed down from the Entu priestess (high priestess) En-hedu-anna , who lived in the city of Ur in Mesopotamia in the 3rd millennium BC . Images from ancient Babylonian times on cylinder seals and terracotta reliefs depict women making music and dancing. Archaeological finds (mostly terracotta figurines) in the Syropalestinian region show that frame drums were played by women in this area. They (Hebrew tof ) belong to a secular (secular) song and dance tradition that Jewish women in Yemen continued until they emigrated. In ancient Greece the normal woman was socially subordinate, music was mainly cultivated by hetaerae . The philosopher Myja , the unknown daughter of Pythagoras , or Sappho , the well-known poet-musician, became known from the Classical Greek epoch in the sixth century BC . The poets Myrtis , Telesilla and Praxilla , all three from the fifth century, are named by Clemens M. Gruber as composers (unfortunately without citing evidence). The poet-composer Cai Wenji (177–250), who is still revered in China and whose compositions have been preserved, lived in the third century AD . The classical Persian music in (today's) Iran dates back to the 6-7. Century AD back. When, where and why misogyny emerged in music that explicitly excluded women in Christianity must remain open.
Rediscoveries from the women's monasteries
In the past and well beyond the Middle Ages , the women's convents were the most important places for women's education , in which independent female music developed by women. The chants in Byzantine notation of the monastery founder Kassia (around 810–865) are among the early testimonies to religious and secular music-making .
The monastery music by nuns has only been rediscovered today, for example works by Hildegard von Bingen (1098–1179).
Linda Maria Koldau opened up the history of the music of the German-speaking women's monasteries that followed the Middle Ages and flourished despite all restrictions. Despite the word of Paul and supervision by the official church , the singing of the nuns , led by a cantrix , was the foundation of their services .
In the history of the north German monastery of the Cistercians in Wienhausen , paintings in the nuns' choir of the monastery church are interpreted as evidence of a rich historical instrumental practice, which is accordingly the location of the Wienhausen songbook . was already cultivated in the 14th century. Iconographic representations show women playing music with fiddles , lutes , flute , dulcimer and psaltery . In 1470 instrumental playing and secular singing were largely banned after a "violent monastery reform".
Especially "[...] in the north Italian women's monasteries (there was) an unbroken tradition of female composition activity since the middle of the 16th century":
- Vittoria Aleotti (1475 – after 1646, Ferrara)
- Caterina Assandra (around 1590 – after 1618, Milan),
- Faustina Borghi (? -? Modena),
- Sulpicia Cesis (1577 – after 1619, Modena),
- Claudia * Francesca Rusca (1593–1676, Milan)
- Chiara Margarita Cozzolani (1602–1676, Milan).
The Benedictine nuns showed a higher level of artistry than other orders. Vittoria Raffaella Aleotti (1575 – after 1646), a Benedictine nun who was also known in Germany in the 18th century , received her professional musical training when she entered the Benedictine Order of San Vito in Ferrara. As maestra di concerto of the high-quality performances of the Nuns of San Vito , which consisted of numerous participants , she already used a baton to conduct the instruments , which is a rarity in music history. The polyphonic printing of her Sacre cantiones à quinque, septem, octo, & decem vocibus decantande under her monastery name “Raffaella Aleotti” attests to a high level of choral practice.
Chiara Margarita Cozzolani (1602–1676) from the Benedictine convent of Santa Radegonda in Milan is one of the convent composers who became famous in the 20th century. Sound samples from her work on CD, such as those of her Marian Vespers, demonstrate a concert life that extends far beyond regional borders, similar to the girls' specials in Venice.
Isabella Leonarda (1620–1704) directed the music in the Novara Ursuline Convent. During her lifetime, 20 collections of her works were printed, which means that she can compete quantitatively with composers of her time. The instrumental music contained, as such (not text-related music) for a long time forbidden, suggests that it was also composed for non-monastic audiences, especially since Ursulines were not strictly obliged to attend the monastic enclosure.
Historical centers for female musical advancement
Ferrara
Several sources show that Ferrara has had a particularly high-quality women's music culture since the Renaissance, especially during the time of Duke Alfonso II .
The influence of the famous women's ensemble Concerto delle Donne had an impact in northern Italy as far as Bavaria. The singers created singing forms that led to the opera: madrigals, pantomimes, intermedia and balli (dances). They were in close contact with masters of the Florentine Camerata such as Giulio Caccini and Alessandro Striggio. The duke, who founded the “Academia dei Concordia” for court and city, had 32 musicians involved who united with the citizens of the city for joint concerts.
The composer and organist Vittoria Raffaella Aleotti already benefited from the high musical level at the Ferrareser Hof as a five-year-old when she was tutored by court musicians. She became a nun and prioress in the Benedictine monastery of San Vito in Ferrares, which itself was a famous musical venue. Your ensemble chants with up to ten voices, composed for this monastery, prove a high number of participants. The nuns there played wind and string instruments without restrictions.
Venice
Venice was a center for women musicians in the 17th and 18th centuries, although according to the papal prohibition women were not allowed to make music in church or “learn music”. The custom, which is unique in Italy, prevailed at the four Venetian girls' pedals to train girls and women in music and to regularly present their skills in public concerts. They performed as soloists, with orchestras, choirs and their own conductors. Her vocal and instrumental quality, reaching up to virtuosity, ensured an influx of interested parties internationally. Very few soloists are known by name, as they were only called by their first names, such as Anna Maria dal Violin , for whom her teacher Antonio Vivaldi wrote over 30 violin concertos.
The life of the girls in these original orphanages and hospitals was similar to a monastery. Since, in contrast to the boys of the Neapolitan Conservatoires, they “had no profession to learn”, they were trained in church music. Their concerts attracted the most famous masters as teachers. Nevertheless, their successes were not exemplary: in the rest of Italy and in the countries north of the Alps, even in Protestant parishes, women continued to be excluded from musical worship.
See also: Anna Bon di Venezia
Paris
Évrard Titon du Tillet (1677–1762) took in his book Parnasse françois, suivi des Remarques sur la poësie et la musique et sur l'excellence de ces deux beaux-arts avec des observations particulières sur la poësie et la musique françoise et sur nos spectacles (Paris, 1732) on French poets and musicians, whereby the relatively high number of musicians is striking, at least in relation to the German musicians in the "Lexicon" from the same year of Johann Gottfried Walther from Weimar , who otherwise lists quite a few musicians.
So it is not surprising that in France at the Conservatoire de Paris , founded in 1795, female musicians were able to study all subjects, something that was only possible a hundred years later in other European countries. However, there were apparently restrictions on female teachers, of which there were many: there were hardly any female professors. One of the few exceptions was Hélène de Montgeroult , whose name was explicitly “Professor of the men's class” for piano, which suggests that a distinction was made between male and female training.
Decrease in female musical performance
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Male dominance in classical music life has developed over the centuries and is still present in the 21st century. Women were socialized away by “higher music”, their history ignored, forgotten by musicology. Regarding the music history of Greece, the “cradle of our culture”, Eva Weissweiler said in 1999: “The question of the creative achievement of women in the musical life of the Greeks has not yet been asked by musicology”. The traditional way of writing music history is described by Annette Kreuzinger-Herr as an “asymmetrical representation” in which the proportion of women remained a “voiceless” white spot “invisible fields of action”. The editors of the Lexicon Music and Gender, Kreuziger-Herr and Melanie Unseld, speak of a “capping” of the “diversity of the cultural landscape of music” by “men of action” who “determined the flow of the musical canon”.
In the 19th century, great composers were mainly attributed a status of genius by German scholars. The attendant attitudes that only men are predisposed to “creative” in music has been questioned and refuted by gender research. A lecture by Freia Hoffmann in 1980 to the “Woman and Music” working group entitled The Great Master and His Little Cook. How men made music history. - From the great master and her little cook. How women cannot make music history is the beginning of a reorientation. As early as 1976, Detlef Gojowy asked in the Frankfurter Allgemeine Zeitung “Can women compose?” To answer this with the counter-question “Will composing be a woman's job?”.
The role of the creative (ingenious) man in “excluding” women from the creative process, not only in music, is illustrated by the example of the young siblings Goethe and Cornelia (1750–1777), who destroyed his sister's texts even though he wrote to her had given the highest praise for it.
Uniform, consistent, socially generally accepted observations with which this historical development can be explained are hardly available. Even in popular literature such as the Lexicon The Famous Women of the World from A – Z published by Jean-Francois Chiappe (1931–2001) it is stated that no one has yet attempted to explain “the failure of noteworthy female composers”.
Devaluation and marginalization of women through musical and musical history tradition
In 1576, Orlando di Lasso's (1532–1594) polyphonic (polyphonic) collection of "beautiful, newer, German songs [...] which are not only lovely to sing, but can also be used on all sorts of instruments" was printed in Munich. These so-called " social songs" by the Bavarian court orchestra leader , whose musical art is famous, were widely used. But the negative statements contained therein, such as the following, had an effect on the social reputation of women through music and its reproduction (pressure), even if they were intended "only" as ironically intended song topoi - to be observed to this day in choir concerts and club parties.
"I poor man, what did I do? I've taken a wife, I hets well on the way [should not], I who still want to get, how often I've regretted it, I may judge that, I always have to go to bed in the hader stahn and also to eat. "
Whereby the last verse “I always have to be in a quarrel” is repeated and “Hader” is emphasized by a long melisma (ornament). In 1931 Hugo Riemann chose this song for his history of music in examples .
Apart from the retreat of musically talented women into the monastery, according to the evidence of recent musicology, many women were only able to publish their music under a foreign or male name, such as the baroque composer who has remained unknown to this day, who artistically worked in 1715 under the female pseudonym Mrs Philarmonica 24 published trio sonatas.
The first German music lexicon by Johann Gottfried Walther (Leipzig 1732) lists names of female composers such as “ Maddalena Casulana Mezari ”, “ Vittoria Raffaella Aleotti ”, “ Barbara Strozzi ”, “ Élisabeth Claude Jacquet de La Guerre ” and names practicing musicians like the violinist and Vivaldi's pupil “ Anna Maria dal Violin ” (1696–1782), the “ Violdagambist Dorothea vom Ried ” (* in the 1st third of the 17th century) and a large number of mostly Italian singers. The chances of doing further research on the basis of this data, however , were hardly taken by the great German post-war encyclopedia Music in the past and present , published from 1949.
Melanie Unseld writes about “the flood of abusive depictions of Constanze Mozart ” (1762–1842), the “estate administrator” of Mozart's works. Allegedly she “neglected” her husband's artistic estate. The portrait commissioned by her, on which she expressly and legibly holds “Oeuvres de Mozart” under her arm, has been changed in reproductions - “forged” - that this writing can no longer be read.
“Constanze Mozart is a particularly striking example of historiographical marginalization. The negative portrayal as an uneducated, greedy wife and widow has persisted. Hugo Riemann established this image, and Alfred Einstein , Wolfgang Hildesheimer as well as Heinz Gärtner and Francis Carr continued this, as did Miloš Forman's film Amadeus (1984), which is based on the play of the same name by Peter Shaffer . "
In the 19th and 20th In the 19th century, women were often described in biographical literature as a more or less suitable companion of genius, so that the complex of women and music was often negatively connoted from an unreflective point of view. Examples: Dieterich Buxtehude's daughter (? -?), Who is disparagingly described as an "old maid" and who is to be married by the father's successor as a condition to keep his position; Joseph Haydn's wife (? -?), Portrayed as disgust; Quantzen's wife (? -?), Of whom the King of Prussia allegedly feared. For none of these negative statements of the essayistic "embellishments" is a factual evidence to be read.
The situation of music in the Third Reich shows that women making music, if they could be used for ideological purposes or “abused”, gained popularity.
After the war, the successes of the Nazi era had to contribute even more to oblivion. In the middle of the 20th century, popular and academic literature commented on the lack of a female element in music as a woman's “musical under-talent”.
Even the most recent 5-volume Riemann Music Lexicon from 2012 shows large gaps with regard to well-known female composers, for example Maddalena Casulana Mezari , Vittoria Raffaella Aleotti , Chiara Margarita Cozzolani , Antonia Bembo (1640–1720), Élisabeth Claude Jacquet de La Guerre are missing , Mélanie Bonis , Johanna Kinkel , the American Gloria Coates, born in 1938, and many more. The baroque stage art of the singer and first diva in opera history, Faustina Bordoni - she took on the art of the castrati - was only commemorated with reference to the article by her husband Johann Adolph Hasse ; at the end of this, the only reference given is the biography of Saskia Maria Woyke .
Invention of the female composer problem
The alleged “female composer problem” (questioning the ability to compose) that has run through the entire history of music is a traditional fiction . In 1961 the President of the Academy for Music and Performing Arts - Mozarteum - Salzburg wrote:
“ The last question, whether a woman is allowed to look into the abyss that men like Beethoven did to be able to testify about the ultimate things, remains open. "
The female composers listed in the RISM - one of the most reliable records of musical works today - and their re-listed works prove that this is an invention with which condescension and ignorance have been justified over and over again for centuries. Women themselves internalized this attitude against their own inner security, as is well known the pianist and composer Clara Schumann . Or “man” (Frankfurter Zeitung of April 11, 1943) put into their mouths: “We women don't compose… There must be something that we lack”.
In earlier times, composing was, of course, part of making music and part of the service contract, as can still be seen in the example of the Esterhazian conductor Joseph Haydn . To be Kapellmeister of a princely court or a parish, like the nun and maestra di Concerto Vittoria Raffaella Aleotti , meant practically fulfilling the demand for “new” music with the available musicians. Haydn composed for the stage and for the private baryton lover of his prince, Aleotti for the service in her Ferrares convent.
The commonality of making music was masked by the (male) genius cult in the 19th century. In the well-known scientific series of early music, " Monuments of the Art of Music ", created in the same century, no works by female composers are represented.
A woman's musical work was mostly reduced to her appearance, her physicality, her appearance. In the first German musical post-war encyclopedia Music in History and the Present (MGG 1), the success of the composer, singer and lutenist Maddalena Casulana Mezari (1544? -?) "Primarily with her ability as an (optical) performing artist" [400 years ago] explains, and her compositions, a woman's first musical prints, are only given two sentences.
Although Fanny Hensel had received just as qualified musical training, including composition lessons, as her younger brother Felix Mendelssohn , her father wrote to the adolescents in his infamous letter that for her music should "always be an ornament, never the basis" of her "being and doing" his, and it culminates in an appeal to their good nature and reason, because "only the feminine adorns women". In this way the “basic basis of being a woman” is reduced to an “ornament”.
Music by women was perceived differently by society than that of men. Proof of this is the popularity of the Concertino for flute and orchestra by Chaminade - the common title - due to the concealment of the composer's first name (Cécile) . When they appear, modern women conductors are more interested in their appearance than in their performance of interpretation: Die Welt wrote stiletto pumps for Sydney Opera on their report on Simone Young's (* 1961) inaugural concert in Sydney .
Women's movement in music
Soon after World War II , the American Sophie Drinker (1888–1967) published her seminal book Music and women: the story of women in their relation to music (1948), followed by translation into German as Die Frau in der Musik. A sociological study. (1955). She is therefore considered to be the initiator of musicological research on women.
Since the 1980s, "Hundreds of dissertations on women composing from past and present, America, Europe" have been written in America. Eva Weissweiler explains this situation with the fact that American music history is more recent, "and that also means: it is less burdened by male heroes than European history".
The British composer Ethel Smyth (1858–1944) continued the centuries-long struggle for a fair musical gender balance in Europe through music, words and deeds. Her life was largely shaped by first studying music with her father and then establishing herself as a composer. She worked as a writer and campaigner for the suffragette movement in her home country. She created an extensive musical oeuvre, of which her opera The Wreckers ("Strandrecht") achieved the greatest success. It was performed many times under conductors such as Sir Thomas Beecham and Artur Nikisch . Her The March of Women , an anthem of the English women's movement, became popular .
German pioneers
1981: Two groundbreaking books
In 1981 Eva Rieger and Eva Weissweiler put musical feminism on a promising foundation with two new releases. Eva Rieger, by bringing up the structures of social disabilities for women making music, as they were expressed in Germany, and Eva Weissweiler with the first international female music history. Both books were reissued in 1988 and 1999, respectively, and on that occasion included an experience report on their inclusion and further developments in the meantime. Eva Rieger reaped with her provocative title woman, music and male rule. initially by no means just consent. She posed the provocative question “What kind of 'general human culture' was that continually revolving around men?” In the introduction (1981), Rieger considered that the consequences of a “centuries-long ban on creativity” for women “cannot and cannot be negated” that in the case of the “female cultural heritage” one has to take into account its traditional dependence on the “invisible ideological chains” of the female sex when asking about the missing “female Beethoven”. Eva Weissweiler regrets that the composers have secured their place in the composing scene, but:
"It is astonishing and sad how many female composers, especially in Europe, defiantly confess to the 'tradition' created by men and almost aggressively reject the idea of creative counter-concepts."
Eva Rieger speaks of the "hitherto neglected phenomenon" of "sexist structures" (1981) "with regard to the much touted 'humane statement' of cultural music".
Eva Weissweiler's first German-speaking female composer story, women composers from 500 years, was just as groundbreaking as Rieger's wife, music and male rule. Although the author had grown up practicing music, among other things as a “ Jugend musiziert ” award winner, and although musicology was a major subject of her studies, she had “never heard of a woman composing” before her doctorate in 1974. As a radio editor for “Symphonie und Oper” she began to “secretly” replace the “men's compositions broadcast year in and year out by the public broadcaster” with works by female composers as soon as she came across them in the file boxes: Lili Boulanger , Germaine Tailleferre , Clara Schumann , Grażyna Bacewicz .
More on the topic
Freia Hoffmann analyzes the more or less covertly sexist motivated backgrounds of patriarchal society in the bourgeois age when it came to relegating women to their proper limits when performing music. The author describes a review from 1825 in the Berliner Allgemeine Musikalische Zeitung (pages 16–28) of eight organ fugues by a composer: It is a “five columns” appraisal of Mariane Stecher, which addresses the “sublime” and “difficult “Daring to art of fugue composition. The “appropriately irritated” reviewer Ludwig Rellstab , at that time “the most prominent music critic in Berlin”, compares “composing with 'agriculture' and fugue writing with 'working on a rocky ground through which the ploughshare has to be led with annoying manly arms when the The reason is to be churned up and fertilized to the depths' ". Hoffmann then continues that “Mariane” was a misprint, and that the composer was actually the Benedictine monk “Marian o Stecher” (born around 1760), whose eight organ fugues then under their real name, after the mistake was discovered, one received positive and factual criticism from another reviewer.
Women & Music, a History (1991), edited by Karin Pendle , is the somewhat later American counterpart to Eva Weissweiler's composers from 800 years from 1981/1999.
Views of feminist musicologists
American musicologist Jane Bowers ponders whether the “neglect of female concerns” in musicology is “a result of sheer negligence”. She goes on to say that this "practice perpetuated the myth of feminine triviality."
Despite the writings of Friedel, Hoffmann, Koldau, Rieger, Weissweiler and many other scientists, little has changed in “normal” musical life. There was no real reaction in musical life, as Weissweiler wrote in the foreword to the second edition of her female music history in 1999:
"The exclusion of women historical composers from the concert repertoire [has remained almost as constant since the first publication of this book [1981] in 1999, as has the astonishing ignorance of many experts."
According to Eva Rieger 1988 and Eva Weissweiler 1999, "[German] musicology has a patriarchal (Weissweiler:" arch-patriarchal ") basic structure, which is expressed here more than in other sciences."
Rieger closes her, according to Weissweiler, “fundamental music-sociological analysis” of woman music and male rule with Chapter V: The search for aesthetic self-determination. Weissweiler's last chapter also revolves around the search for an original female musical language: In search of a language of her own.
Festivals, exhibitions, bibliographies
A series of regular female composers festivals has been established since the 1980s for the last women composers movement. There have been international competitions for women composers since 1950. Exhibitions with sheet music by women composers were organized on a smaller and larger scale. As early as 1971 in the Munich State Library: women composers from three centuries. With the international series of festivals in Kassel in 1987 (February) and Heidelberg (June) the pioneering work that was started was underpinned with accompanying publications.
“Special festivals (Hamburg, Heidelberg, Kassel, Cologne, Mannheim) are still necessary to make women composers heard. Who would ever have to emphasize the composing man like that? The expression of composing as a 'man's thing', as Richard Strauss put it, was for centuries so ostensibly a matter of course that it became the categorical imperative of patriarchal society for centuries. "
One reads further about the “performance paralyzing” condition in Germany and the “mistrust hurdle”, which is greater for the German composers than for their colleagues from countries with a “younger musical tradition” such as North and South America, Romania, Korea. However, there were political hurdles in Romania to take part in the German women composers festival. For example, Die Welt reported on June 3, 1987, No. 127, Culture: No departure for Miriam Marbé. The Romanian composer was not allowed to take part in the Heidelberg Festival in 1986 or in 1987 in order to receive the Heidelberg Composition Prize that had been awarded to her.
"Apparently it is no longer so much the husbands and brothers who block the composer's path as the functionaries."
In addition to catalogs on editions of works and publishers by / for female composers, more and more bibliographies of the literature on the subject, which has since grown, appeared in the 1990s: book index Woman and Music 1800–1993, Woman and music. A selective annotated bibliography, woman and music. Bibliography 1970–1996, BIS Verlag of the Carl von Ossietzky University of Oldenburg published Musik Frauen Gender in 2006 , book directory 1780 to 2004, which now includes over 4,400 titles.
"In search of your own language"
As Eva Weissweiler describes, there were very progressive developments in America as early as the middle of the 20th century with regard to the “search for their own language” by women who “deliberately set themselves apart from the myth of the male genius” ( Meredith Monk , Pauline Oliveros, etc. .). The creative involvement there with the medium of music led to a holistic kind of “performance and improvisation ” with “singing, doing gymnastics and dancing” on stage.
In Germany, the violinist, a student of Hindemith and Carl-Flesch , Lilli Friedemann , began to experiment with musical group improvisation in the 1960s, which she said was initially inspired by historical dance music. Their “collective improvisations” were less spectacular than the American performances, which Weissweiler described as “musical productions”. Two important elements predominated in Friedemann: that of listening and that of reacting to one another.
Ruth Schönthal (1924–2006, also Schonthal) composed “From the diary of a woman”, in which she was inspired by the “ambiguity of feelings” in the face of “indoctrination (children, kitchen, church)” of a young girl “full of enthusiasm and tenderness ”. Judith Förner stated in 2000 after extensive literature research that there was no musical training concept for girls from a gender-specific point of view, especially in adolescence, the years for setting the course for a career.
The importance of women for francophone chanson
In October 1996 a database project on the Francophone women's chanson was founded at the Institute for Romance Studies at the University of Innsbruck with the aim of scientifically investigating the meaning of the female chanson . Despite its centuries-old tradition, popularity and social relevance, the chanson only found its way into science as a “second class” genre in the 1960s. A so-called “bourgeois” understanding of art favored the double discrimination of women who ventured into this area as lyricists, composers and / or interpreters - on the one hand, as artists who largely remained unnoticed by research, but also by the media others as representatives of a genre belonging to a subordinate status. Exceptions were artists such as Édith Piaf , Juliette Gréco , Barbara and also Anne Sylvestre as representatives of the first generation, who still have a permanent place in the collective memory today. To counteract this tendency to select and to close gaps, the research project “Database Frauenchanson. History and topicality of the francophone women's chanson in the 19th and 20th centuries ”(for the countries France, Africa, Belgium, Canada and Switzerland) made it their task, and together with the Innsbruck Documentation and Research Center for Text Music in Romania, there were over 6000 recordings archive and build up a specialist library with more than 2500 publications on the subject of Romance text music.
Music performance artists in the USA
In 1999 Weissweiler describes the holistic multimedia sound art of its inventors in America at the turn of the century in “In search of a language of their own”.
Of the seventeen female composers on the American music scene listed by the American composer and music critic Kyle Gann and later Weissweiler, several have been listed in the latest German music dictionary, Riemann 2012.
Doris Hays was inspired in 1981 for her avant-garde, multimedia performance Celebration of NO by the film Die Bleierne Zeit by Margarethe von Trotta . Celebration of NO was discussed extensively and controversially in America and Germany. Eva Weissweiler describes how Hays uses the word “No”, which she recorded on sound carriers - spoken by women in many languages, even Indian - and defense sounds (warning screams) from animals for this performance. Doris Hays herself published in 1992 in MusikTexte 44: Celebration of NO, The woman in my music.
According to Weissweiler, Meredith Monk (* 1942) is a “particular favorite of feminists”, “because she strongly emphasizes the feminine” in her music. These include "lullabies and wedding songs, lamentations for the dead and ecstatic-meditative chants that have been largely suppressed by Western European Christianity". On behalf of the Houston (Texas) Grand Opera , she wrote a "Sing-Dance-Drama" about the giant atlas that carries the globe. She says: "Words are only obstacles that have to be translated" and "Back to the roots, back to the body, to the heartbeat or to the blood". Weissweiler literally counts her as one of the new female magicians on stage who “cast a spell over their audience with the simplest means”. Other American artists include Pauline Oliveros (* 1932), Laurie Anderson (* 1947) and Diamanda Galás (* 1955).
Music as an autonomous way of life for women
Historical career prospects
At European princely courts of the Renaissance, virtuoso singers were able to turn their art into a profession: the Italian singers of the Concerto delle dame di Ferrara were among the first professional virtuosos whose names have been handed down to this day . They received the status of ladies-in-waiting of the Duchess Margherita Gonzaga. Their employer, Duke Alfonso II. D'Este , tried to get them married in order to counter the danger of being seen as a courtesan .
The bourgeois Venetian baroque composer and singer Barbara Strozzi was never married and is perhaps therefore repeatedly referred to in literature as the “ courtisane ”. She published eight books of vocals, which she read in the house of her (adoptive) father, the intellectual Giulio Strozzi , at the events of the " Accademia degli Unisoni ", which he founded . This is remarkable in that academies were taboo for women at the time.
The chance for a pre-vocational musical education practically only arose for girls from musical families, such as the viol virtuoso Dorothea vom Ried . She was brought up by her father with her three sisters and two brothers to form an ensemble that, despite the ongoing Thirty Years' War , toured Europe in concerts. Things were completely different in the musician family of Johann Sebastian Bach , who raised five sons for the musical profession, but not his daughters.
Born into a family of musicians, the French composer Élisabeth Jacquet de La Guerre , like her three siblings, who also became professional musicians, received music lessons from her father. After Louis XIV noticed the achievements of the five-year-olds, she enjoyed an aristocratic upbringing at the royal court. After her marriage, she lived as a freelance virtuoso , composer and teacher. Even after the death of her husband, she was able to live in prosperity from the income from her compositions. Her opera Cephal et Procris in 1694 was the first by a (female) composer to be performed at the Académie royale de musique in Paris.
Female creativity under or without sexist prejudice or economic restrictions
The danger for unmarried female musicians of being attributed to prostitution already existed in ancient times. In his music lexicon of 1732, Johann Gottfried Walther names the Ambubajae , “certain women” from Syria who came to Rome, where they
“Played on different instruments and thereby attracted young guys, which is why they did not live in much 'prestige'. They stayed particularly in Circo, the baths and other places where it was funny. "
From the southern German “frouwe”, “maidlin” or “virgins” numerous testimonies of paid musical services as singers or “ Lautnslagerinnen ” have been preserved between 1420 and 1574 . Their names remained mostly unknown, as well as details about their education and how far their independence went, or whether they were married or not.
Daughters of aristocratic circles were usually given an education that encouraged serious music practice, such as that of Heinrich Schütz's pupil Sophie Elisabeth von Braunschweig , whose Singspiel Newly Invented Peace Game genandt Peace Victory of 1642 (printed 1648, at the end of the 30 year old War) is the earliest surviving music-theatrical German work.
In their autonomy, however, women of the high nobility were fundamentally dependent on their husbands, father or brother. Princesses in Germany were inherently disadvantaged compared to their brothers. Wilhelmine von Bayreuth, in particular , felt the effects of the waiver she demanded at the wedding in the course of her Bayreuth opera direction, whose ambitious plans she was only able to implement on the back burner due to a lack of financial resources and powers.
With her opera L ' Argenore , she set a sign of rebellion against the tutelage of absolutist royalty: the main character, King Argenore (who is discussed as Wilhelmine's father after Ruth Müller-Lindenberg), takes his own life on the open stage in the last scene This is what Wilhelmine envisages in her textbook. This was an unheard-of act in the time of absolutism, because the main concern of the courtly opera genre was to glorify absolutism, which included the “ Lieto fine ” convention on the stage . The controversial discussions about this opera have continued since it was performed at Erlangen University in 1993.
There were very positive female lives in the aristocracy with regard to music: Maria Antonia Walpurgis of Saxony (1724–1780), Empress Maria Theresia and Anna Amalia von Braunschweig-Wolfenbüttel (1739–1807) had as regent representatives or educational leaders the underage sons / rulers the opportunity to implement their musical ideas.
Women in professions for music
Women in music printing is the title of Linda Maria Koldau's overview of numerous, previously unknown female music publishers in Germany in the 16th and 17th centuries. The Nuremberg publisher Johann Balthasar Schmidt's widow , whose name was not known, took over the publishing house of her deceased husband, in which Johann Sebastian Bach and his son Carl Philipp Emanuel had published important musical works. She signed with "alle spese della Vedova di Baltas: Schmidt" (at the expense of Balthasar Schmidt's widow).
The piano maker and pianist Nannette Streicher (1769–1833), daughter of the famous Augsburg piano maker Johann Andreas Stein, trained in her father's workshop . She started her own business in Vienna , where she invented new technical construction methods. Their pianos and grand pianos are among the sought-after rarities today.
Claudia Schweitzer brings to life the social circumstances of piano teachers from the 17th to the beginning of the 19th century in France, Switzerland, the Netherlands, Germany and Austria. This international research shows that the teachers and artists often came from families of musicians. They were able to live on their own earnings, and some of them published piano schools, such as Hélène de Montgeroult (1764–1836). According to the current state of knowledge (2014) she was the first employed piano professor at a conservatory , a vocational training facility. She was part of the first teaching college of the Conservatoire de Paris, which was newly founded in 1795 .
This shows the other side of musical life, that of education , the large part of which has been in the hands of women for centuries.
The song composer Louise Reichardt (1779–1836) was one of the initiators of the Hamburger Singverein in 1816 , which made outstanding contributions to the performance of Georg Friedrich Handel's oratorios . She founded and directed her own “choir club” and organized “spiritual” music festivals in Hamburg and Lübeck.
Musical vocational training in Germany today
When it comes to choosing a musical vocational training facility, there are many options for women today, both in the classical and pop fields. They range from practical music - the traditional occupations orchestral musician, singer, conductor - to composer and educational subjects music teacher / school musician, teacher of music education , rhythmist , music therapist and musicologist, music journalist, music critic, a sound engineer , instrument maker, publishing director . Most professions are organized in associations. There are no longer any reservations about instrument choice among women. However, the prospects for professorships and chairs at universities are still not very promising.
Vocational schools, technical academies, conservatories, colleges and universities for music are distributed all over the Federal Republic: the umbrella organization is the German Music Council ; the Neue Musikzeitung of Gustav Bosse Verlag represents all German associations and activities.
Lay and youth education music school
The German Music School Congress , which takes place every two years in different cities, presents interested teachers with musical activities related to the musical training of laypeople in workshops, lectures and exhibitions. It is carried out by the Association of German Music Schools , or "VdM" for short, and funded by the Federal Ministry of Education and Research . Illustrated program books of the events are published for each event. The last congress (as of 2014) took place in April 2013 under the motto Fascination Music School .
With a great variety of events and activities, the carefully compiled program book documents a surplus of male speakers , an almost exclusively male committee of the VdM federal board, but a clear surplus of women in the federal and state parent representatives (p. 134 ff).
A disproportionately large number of women are involved in music theater , expressive dance and also in choral singing . They also started some annual music weeks , in Austria for example in Carinthia and in Traunstein .
Music with disabled people
For over 15 years, music has been officially made with disabled people at German music schools. A field report from teachers who have dealt with it was published about this work with a newly practiced approach.
"Motto of Prof. Dr. Werner Probst: Everyone is capable of experiencing and producing music, and in this sense musically. This musicality and thus every musical system can be developed. "
Of the practical contributions contained in this volume, the number of female speakers is only slightly below the number of (male) speakers.
Composer as a profession, historically
Being a composer was a natural part of life as a musician back in the Baroque era . If a woman gained recognition as a composer - early examples of this are shown by Johann Gottfried Walther's Musik Lexikon from 1732 - the chance that her name would “survive” until the first major German post-war encyclopedia “MGG” was slim. Eva Weissweiler speaks of the "widespread lack of articles about female composers or their malicious, sexist (r) dismissal". The invention of printing music gave women composers a public forum, which they had to defend from men. The Renaissance composer Maddalena Casulana Mezari formulated in the first (known) musical print of a woman that it was a “foolish error of men” to believe “that they alone are the masters of high intellectual abilities”.
Barbara Strozzi , her future colleague in Venice, worried in the foreword of her Primo Libri de Madrigali (Venice 1644) about the "flashes of the prepared calumnies" [of the men's world].
Only two female composers were accepted by the renowned Accademia Filarmonica in Bologna: Marianna Martinez (1744–1812) and Maria Rosa Coccia (1759–1833). To be a member of this composers' association meant to have the privilege to publish your own works. In contrast, the Accademia dell'Arcadia in Rome, which made outstanding contributions to the opera libretto, also had female members, including the Prussian Princess Wilhelmine of Bayreuth and the Saxon Electress Maria Antonia Walpurgis (1724–1780). What is known about the whereabouts of the compositions of Margravine Wilhelmine von Bayreuth , or her large collection of music, is that the latter was saved, but it has not yet been found. According to Otto Veh's interpretation, after her death in 1758, attempts were made to stop any memory of Wilhelmine because of her political influence on her favorite brother Friedrich the Great. For comparison: Frederick the Great has composed over 120 flute sonatas in close contact with her since his time as Crown Prince, all of which were distributed to his castles and played there during his lifetime by copyists' copies. The Bach biographer Philipp Spitta numbered them, provided them with an incipit index (thematic index) and published them at the end of the 19th century in the 4-volume splendid edition of Frederick the Great's musical works together with his other compositions. In contrast, individual compositions by Wilhelmine von Bayreuth only appeared at the end of the 19th and beginning of the 20th century, scattered at locations far apart.
Men and women equally disregarded female composers. Alma Mahler and Fanny Hensel describe how it “feels” to compose, but not to be allowed to. In both of them, the emotional implications of what the "prohibition of creativity" meant for the creative musician:
"If no rooster crows at me [and:] in the end, even with the pleasure of such things, one loses judgment about it, if a foreign judgment, a foreign benevolence is never opposed"
Both life stories are examples of how female self-confidence and creativity have been burdened by social norms and traditional gender theories. The paradox of Alma Mahler is that although she was extraordinarily emancipated and knew how to assert her interests in a targeted manner to her advantage, she still stopped composing.
Composer as a profession, international
The International Alliance for Women in Music (IAWM) is a global organization that supports activities by women in music, particularly composing, performing and researching in areas where gender discrimination is a historical or present day concern. The IAWM is committed to the discrimination of female musicians in orchestras and advocates the publication of contributions by female musicians in the university sector.
Women composers festivals are a rarity. The International Festival of Women Composers Yesterday-Today in Heidelberg was held for the first time in 1985.
Testimonials
- The English composer Elisabeth Lutyens (1906–1983) composed twelve-tone music without knowing about Arnold Schönberg's twelve-tone technique :
"Oh - did Schoenberg use the twelve-tone method too?"
- Gloria Coates (* 1938), American composer:
"[...] whatever I invent, it is my very sincere search for the truth, and that the music comes from hidden parts of myself, both emotionally and intellectually."
- As a child, the Romanian Violeta Dinescu (* 1953) felt fascinated by sounds like those of a cat running over the piano. She says about composing:
“In the beginning of every composition I try to find a justification for the organization of the musical material by constantly looking for a sphere, an idea where the flood of fantasy meets the rigor of the form-creating thought. For me, composing is a structure of life, something that pervades my entire life. "
- The Romanian Adriana Hölszky (* 1953):
“I do it like a sculptor, take the material and try it, and then a shape matures. Sometimes things come about that I didn't even suspect at the beginning. "
Modern and contemporary composer in the German-speaking area
In 1989 the documentary Die Frau in der Musik, directed by Leni Neuschwander , was published, in which the international competitions for female composers 1950–1989 are recorded and evaluated. Illustrated portraits of female composers and a register show well over five hundred contemporary female composers from over 30 countries around the world.
It took a long time after World War II for women composers to be noticed. As recently as 1973, Reclam's piano music guide said that Poland had not produced any composers who “achieved world fame” alongside or after Fréderic Chopin. The “legendary symbolic figure of the middle Polish generation of women composers”, Grażyna Bacewicz , was left out, but in 1973 she got her own article in supplement volume 15 of MGG I. Confessing to an authentic personal musical language was a fight against discrimination for women composers.
Even if in 1999 the historical female composers hardly had their say in public music life, even if a professor was only given a chair for women's music research at a German music academy in 1998 (Dortmund), it cannot be overlooked that the modern female composers are self-confident claim the international sites from Donaueschingen to Warsaw. In North America around this time, half of the composition students are women.
The composer Brigitta Muntendorf , born in 1982, received the coveted Siemens Music Prize in 2014.
Testimonials
- Ruth Schönthal (1924-2006) from Hamburg :
“In my family I have not been burdened with complexes such that women are not artistically and intellectually equal to men. On the contrary: my parents wanted a composer in and always supported me very much "
When Schönthal was asked whether her composition “From the diary of a woman” was related to her work as second chairwoman of the American Association of Women Composers, she replied:
“No, not with my work in the Association of Women Composers, but with my special sensitivities, feelings and experiences as a wife and friend of women. The piano piece 'From the diary of a woman' describes the life of women as I know them, with their joys, pains and problems. It shows indoctrination, i.e. H. Children, kitchen, church and a young girl full of enthusiasm and tenderness; [...] "
She worked out the ambiguity of feelings “in a wedding march that is also a funeral march” and - as a further example - had a waltz in the right hand and a foxtrot in the left hand meet with their rhythmic overlays. "In general, my music isn't just about women, it's about music and the human element."
- The Austrian-Swiss composer Patricia Jünger (* 1951) comments on her profession:
“You really have to be stupid enough to believe that you can make a living from it (from composing). [...] Well, the phenomenon of music seems like a mystery to me. But - one thing is just wrong: when I pick up a sound, it's like a sculptor touches sand: a material that I can touch. It's not something that runs around dematerialized. "
Female UFA stars
Although Nazism was widely touted the role of "comrade", "sufferer" and multiple parent for women (see also Women in National Socialism ), remained the UFA - entertainment film almost free from these stereotypes. In fact, women played an unusual and important role for that time. They appeared strong, mysterious, or clever. They often bailed the men out and where they hesitated, they confidently made the right decisions. Some of them led surprisingly independent lives, and even when they submitted, the action revolved around them. In addition to these complex, interesting personalities, the men often looked like shadows. The female stars of that time included Zarah Leander , Marika Rökk and Ilse Werner . They not only acted as actresses, but also as interpreters in musical entertainment such as dance or revue films .
As one of the best-known examples, the Swede Zarah Leander developed into the highest paid film actress and singer in Germany within a few years, where she also appeared in operettas and musicals . Her best-known films were made between 1937 and 1943: To new shores , La Habanera (both 1937), Heimat (1938), It was a glittering ball night (1939 together with Marika Rökk), The great love (1942) or Damals (1943). With her succinct alto voice she fascinated and irritated the critics alike. Although she supported the perseverance slogans with hits like The World Will Not End (after heavy bombing raids on German cities) or the hope for the “ miracle weapon ” with I know, a miracle will one day happen , she felt like them other stars, as completely apolitical.
The German-Austrian operetta legend Marika Rökk received training as a dancer at an early age and went on tour through Europe and America before she was discovered by the UFA. Films like Gasparone (1937) and Hallo Janine (1939) were among her greatest successes during this period . Film hits like music, music, music (I don't need millions) became evergreens . Since she was one of the leading stars among the National Socialists, she was banned from performing in the first few years after the war. In the 1950s, she continued her career in, often American-influenced, music films. In 1962 she withdrew from film and switched to the stage, where she appeared in various operettas and musicals. In 1992, at the age of 79, on the occasion of Emmerich Kálmán's 110th birthday, she made another stage comeback in Budapest as Countess Mariza .
Ilse Werner, born in Batavia , became known for her songs and her whistling skills . It was the epitome of cheerful, sophisticated entertainment. The graduate of the well-known Max Reinhardt Seminar became famous with films such as Wunschkonzert (1940), the Jenny Lind epic The Swedish Nightingale (1941), We Make Music (1942), Great Freedom No. 7 and Münchhausen (both 1943). She too was temporarily banned from working, but returned to the stage in 1950 with The Disturbed Wedding Night . In the 1970s she succeeded with the piece we are once again escaped from Thornton Wilder of change to character roles. In addition, Ilse Werner was involved as a show and talk host as well as in various television roles.
African American singers
Bessie Smith (1894–1937), Josephine Baker (1906–1975, also a dancer), the gospel singer Mahalia Jacksons (1911–1972), who appeared in Germany in protest against discrimination against African-Americans. Ella Fitzgerald (1917–1996), Sarah Vaughan , Billie Holiday , Nina Simone (1933–2003, also songwriter), Tina Turner (* 1939), Aretha Franklin (1942–2018), Joan Armatrading (* 1950, also songwriter), Tracy Chapman (* 1964, also a songwriter).
Bands, popular music, "music scene"
In the popular music scene, male bands predominate over female bands. Judith Förner puts this deficit in women in connection with traditional habits in the school program for bringing up girls. In contrast, the list of renowned solo pop singers of our time is long. The most commercially successful singers of the past 50 years have been Madonna , Mariah Carey , Celine Dion , Whitney Houston and Barbra Streisand . In the Billboard chart ranking for the years 1992 to 2012, female pop soloists took 13 of the top 20 places, led by Rihanna , Pink and Britney Spears , while only two male soloists were represented.
See also: Polish singers in the competition "Fryderyk" ("Singer of the Year" since 1994)
Conductors
See Elke Mascha Blankenburg: Female conductors in the 20th century, portraits from Marin Alsop to Simone Young.
The author, herself a conductor, begins her introduction with a quote from the French conductor and composer as well as conducting and composition teacher Nadia Boulanger (1887–1979). When asked how she felt “as a woman at the desk”, she replied, “When I get up to conduct, I don't think about whether I am a woman or a man. I do my job. ”Ms. Blankenburg continues that even today (2003) this is one of the first questions that conductors are asked. In reviews after the concert, only the description of the evening gown of the woman at the desk instead of the content of the musical interpretation would be particularly frequent and happy. Such remarks became known in connection with the first internationally known German female conductor of the 20th century, Hortense von Gelmini : “Symphony in blonde”, “It only becomes red at fortissimo”, or the verbal derailment “If she would conduct at least naked”.
According to Blankenburg, the fact that there have always been female conductors has never been researched. Vittoria Raffaella Aleotti from Ferrara conducted with a baton as early as the 16th century. Sophie Charlotte , the first queen in Prussia, conducted Italian operas from the harpsichord. Fanny Hensel conducted the Sunday music in Berlin. And many female musicians did it in a similar way without the music history taking notice.
In 2002 there are 76 opera houses in Germany that are regularly used; of the 76 music directors, only two are women. As you can read on with Mascha-Blankenburg, there are a further 34 independent symphony orchestras for concerts in Germany; Of the permanent conductors, only one (0.5%) is female. In this context, the proportion of women as musicians in the orchestra should be mentioned. The Berliner Philharmoniker played 100 years without women until Madeleine Caruzzo came along, the scandal followed with the engagement of the second, clarinetist Sabine Meyer. 120 men argued about a woman.
There were conductors and women's orchestras in the USA as early as 1935, in Germany Hortense von Gelmini , Elke Mascha Blankenburg , the Hamburg general music director Simone Young , and others became known.
Soloists
While musical boys were selected and trained in the church scholas according to a centuries-old tradition, particularly fortunate circumstances had to come together for a successful solo (vocal or instrumental) career with girls. The best trained musicians were castrati, besides singing they also learned the theory, instrument and composition thoroughly. The same was possible at the Venetian girls' pedals, despite the Vatican prohibition. As the opera established itself and the instruments became more and more virtuoso, soloists could grow up due to the early lessons.
Vittoria Raffaella Aleotti had the fortune of a music-loving father who gave his daughters music lessons from childhood, when she became a famous organist. The gambist Dorothea vom Ried , an Austrian “child prodigy” from a traveling, concert-giving virtuoso family, is an example of how her family promoted talent in the mid-17th century. 100 years later that would have been questionable. It was sung about by the Weimar poet Georg Neumark during his lifetime .
The first internationally known violin soloist was Anna Maria dal Violin , for whom her teacher Antonio Vivaldi wrote 31 violin concertos at the Venetian Ospedale della Pietà . The Venetian Faustina Bordoni , who is known today as the “first prima donna ” of the baroque opera stage , was fortunate enough to be sponsored by the Marcello family of patrons. She was in no way inferior to the best castrato singers.
Maddalena Lombardini Sirmen was trained as a singer and violinist at the Ospedale in Venice. A special privilege to study violin with Tartini in Padua enabled her to use a modern violin technique and today's musicology a fundamental treatise of his violin technique in the form of a letter to his pupil. Her concert tours took her to Faenza, Turin, London, Paris, Dresden and St. Petersburg, where she performed her own compositions. From the wealth of her concert experience, she composed violin concertos and string chamber music. Her quartet compositions were printed in Paris at the same time as the quartets op. 9 by Joseph Haydn; both are considered pioneering work. As a woman, Sirmen did not have the opportunity to consider an orchestral position, which is probably why she changed saddles and became a singer on the opera stage. This was only possible because of her varied and comprehensive training at the Ospedale dei Mendicanti in Venice.
Instrumentalists
The variety of instruments played by women in the Middle Ages declined in the centuries that followed. A series of renaissance copperplate engravings by Tobias Stimmer (1539–1584) shows women still with all imaginable instruments. An example of uninterrupted music-making is the organ-playing, composing and conducting nun Vittoria Raffaella Aleotti in Ferrara.
As Freia Hoffmann explains, women in the bourgeois age grew restricted in making instrumental music for reasons of “propriety”, especially the organ, the cello and the viol, the instruments that had to do with footwork.
Mozart's talented sister Anna Maria, known as “Nannerl”, was not allowed to sit on the organ bench like her brother Wolfgang, nor did she take composition lessons like this one. There was no town pipe or orchestra position for women . It took a long time before girls and women were allowed to learn their instruments professionally and even study at a music college. The Conservatoire de Paris , founded in 1795, was the first after the era of the Venetian ospedali to allow women to take part in all musical subjects without restriction.
For a long time, wind and percussion instruments were particularly unsuitable for women. Ultimately, the piano became extremely popular and this instrument became a dilettante. Hoffmann reports that of around 600 instrumentalists known by name in Germany between 1750 and 1850, 90 percent adhered to the "permitted" instruments piano, plucked instruments, especially harp, and glass harmonica .
A modern example of long-standing misogyny in the orchestra is the professional history of the clarinetist Sabine Meyer .
The girl at the piano, an international "cliché"
At the beginning of the 20th century, playing the Japanese koto was still part of the educational canon of Japanese youth. When the family began to consolidate in Japan at the end of the 19th century, with the man as the sole breadwinner, a gender-specific upbringing of children developed hand in hand with it. At the same time, Japan oriented itself more towards western musical culture, with the national instrument koto being supplanted by the European piano. The piano became the daughters' instrument and home gathering point for the modern Japanese middle class family.
At the same time, the Japanese piano production Yamaha began . This was followed by the incorporation of European musical life into other Asian countries, as well as piano manufacturing in Korea. This is very noticeable at European conservatoires. For example, entire piano training classes at the Bremen University of Music have for years consisted largely of East Asian students.
Examples of classical singers
Renaissance: Isabelle Emerson's book Five Centuries of Women Singers begins with the famous vocal ensemble at the court of Duke Alfonso II of Ferrara . " Il Canto delle Dame di Ferrara " became known in Italian court circles and as far as Munich and Vienna (also known as " Concerto delle Donne "). Alfonso II. D'Este reserved this women's ensemble for his courtly concerts . The 12 madrigals by Luzzasco Luzzaschis for one to three sopranos and figured bass were created for these singers. The score from 1601 contains the true -to-note execution of the artistic decorations ( diminutions = resolution of long notes into many fast ones). This enables a precise idea of the female art of singing with its highly virtuoso technical finesse at the end of the 16th century, even before opera and the castrati became established. The names of the performing "Donne" have been passed down, they are Laura Peperara , Livia d'Arco , Anna Guarini (daughter of the poet and court secretary Giovanni Battista Guarini , to whom most of the madrigal texts go back) and Tarquinia Molza .
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Opera singers: Anna Renzi (around 1620–1660), Barbara Strozzi's Venetian contemporary, is often referred to as the “first prima donna” or first “diva” of the opera stage . She was admired for her art of underlining the human affects of her singing through facial expressions, facial expressions and gestures of her body. Francesca Cuzzoni , Faustina Bordonis ' London competitor , also sang male hero roles written for castrati.
Marianne Pirker (1717–1782), "Tedesca" (German), is one of the rarer examples of a German prima donna among the popular Italian opera singers at European opera houses of the 18th century. With her husband, the violinist and librettist (translator) Joseph Pirker, she was employed at the Stuttgart Court Opera, where, as a serf , she met a hard fate. As a friend of the Stuttgart Duchess Elisabeth Friederike Sophie von Brandenburg-Bayreuth , she was accused of betraying his marital infidelity by her husband, Duke Carl Eugen , and punished by him with 10 years of solitary confinement.
Anna Franziska Benda (1728–1781), Gotha court singer, was the youngest sister of the Bohemian violin virtuoso Franz Benda , who taught her singing. She became famous in her time because of singing peculiarities such as passages of sighs, particularly long sustained notes and a special trill technique. Her art was reminiscent of the melodies of her brother, the Prussian concertmaster on the violin.
The German soprano Henriette Sontag (1806-1854) and the French mezzo-soprano Maria Malibran (1808-1836) became famous in the 19th century . Jenny Lind from Sweden (1820–1887) went down in music history as "The Swedish Nightingale". She was the first singer to travel worldwide and in her time the most traveled singer and shaped a new singer profile.
20th century In the 20th century, there are numerous outstanding singers, preferably in the world of opera: In the mid-1950s, the first black soprano appeared at the Metropolitan Opera, the contralto Marian Anderson (1897–1993). In 1939 she faced discrimination because of her skin color. In Europe, these include the sopranos Erna Berger (1900–1990), the coloratura sopranos Rita Streich (1920–1987) and Erika Köth (1925–1989). The world career of the Greek diva Maria Callas (1923–1977) was relatively short . Famous stage singers of the 20th and 21st centuries are Montserrat Caballé (* 1933), Gwyneth Jones (* 1936), the black singers Leontyne Price (* 1927) and who were celebrated for her unforgettable Bayreuth role as "black Venus" in Richard Wagner's Tannhäuser Grace Bumbry (born 1937); then the Slovak Edita Gruberová ("Queen of the Night") (* 1946), the Danish soprano Inga Nielsen (* 1946) and the Hamburg mezzo / contralto Hanna Schwarz (* 1943). Anna Netrebko (* 1971) is currently (2014) the most popular singer in the media worldwide .
Sound artists in Europe
- In the 1960s, Lilli Friedemann (1906–1991) created a new way of dealing with sound and hearing exclusively in groups, known as “ musical group improvisation ”. Originally a classical violinist , she gave up playing concerts instead. The composer Felicitas Kukuck took part in the group she founded .
As a freelance artist and university lecturer, Friedemann taught at music colleges , independent music institutes and in private courses. The usual instruments, the Orff instruments, and any material that could be used for this purpose were used when improvising. The "Ring for Group Improvisation" she founded still exists today in Hamburg. Her improvisations opened up new areas of sound such as the so-called " New Music " contains. An educational side effect was to contribute to the understanding of the new music. The Exploratorium Berlin is a musical institute inspired by her.
- Limpe Fuchs (* 1941) is an internationally known German sound artist and instrument maker on an unconventional path and a European example of this direction: "The malleability of sound".
- The modern classical music scene, actually better "serious music scene", shows - using Germany as an example - an abundance of independent ensembles for new music, whose members and founders are increasingly women, as the publication free ensembles for new music in Germany (2007) shows.
In addition to the ensembles for exclusively modern music, there are those whose boundaries between popular and serious music, old and new music, old and new genres and improvised music cannot be drawn:
- Anna Katharina Kränzlein , violinist and arranger, organizes concerts and events with various musicians and ensembles, in which she appears as a classical violinist with modern drum accompaniment, to end with improvisation. This includes singing, playing the piano and the hurdy-gurdy. After a classical music education (youth music competitions, flute, orchestral playing, music college) she was one of the founders of the southern German medieval folk rock band Schandmaul .
- Tarja Turunen from Finland (ex- Nightwish ) has a classical singing education.
- Olivia Trummer comes from a family of musicians and lives as a pianist, composer and singer. She is a multiple awardee, scholarship holder and gives concerts with her trio. She has released several CDs.
Personalities
- Birgit Lodes , Professor of Musicology at the University of Erlangen, then Munich, now Vienna.
- Isabel Mundry Professor of Composition at the Frankfurt University of Music, then Zurich.
Women composers in music history
Work term
Early music history
"String and flute playing, singing and the measured dance step" were associated with the mythological demigoddesses, the muses , in antiquity . According to scientific knowledge, the mythological belief in the Muses was mixed with actual experiences in ancient times. The muses appear in the oldest Greek scriptures ( Homer , 7th century BC; Plato , 4th century BC).
"The most important stringed instrument in the field of Greek culture", the kithara (early form Phorminx) is played by a woman on the oldest pictorial representation to date, a Cretan clay coffin from the second millennium BC. In the chapter on musically creative women from antiquity to the Middle Ages in the book mentioned above, Weissweiler describes this epoch. The term composer is not entirely appropriate for early music history because it is tied to a musical notation, of which hardly any examples have survived from ancient times. A new musical notation did not develop until the Middle Ages.
The Greek rhetor and grammarian Athenaeus only reported about the Greek poet-musician Sappho on Lesbos from the seventh century BC in the 3rd / 4th centuries. Century AD, she is said to have invented the " Mixolydian tune ", an octave genre of the Greek tone system .
The hetaerae of Greco-Roman antiquity were professional aulos players , dancers and singers. The aulos with its two chimes was played in two voices, the aulos players Lamia of Athens and Aphrodite Belestiche became particularly famous .
There is Roman evidence of the work of the " Syrische Pfeifferinnen" (flutists / aulos players ), who united in a cooperative in a Collegium ambubiarum . These Ambubajen experienced a negative reception from the ancient Roman poet Horace (65-8 BC): He disparagingly described them as belonging to the "charlatans, gypsies, dancers and whores", as according to the translation from the Latin Christoph Martin Wieland ( 1786) is to be closed. Other unfree entertainment musicians (slaves) with harp and tympanum, cymbal beaters from Lydia and Phenicia as well as the Spanish "Gaditanerinnen" from Cádiz who accompanied each other with castanets came to Rome from Syria . In the fourth century, at the time of Emperor Gratian, there were about three thousand foreign "music whores" in Rome. The flourishing musical life of women was ruined by the Christian church fathers, especially because of the infamous saying of the apostle Paul " Mulier taceat in ecclesia ".
In China, the poet-musician and composer Cai Wenji († 250 AD) is popular with the population. A crater on Venus is named after her. She left flute music. Chants recorded in writing have come down to us from the Byzantine nun Kassia (810 - around 865), who was born in Constantinople . Kassia, who was born in Constantinople, founded a women's monastery, where she spent her life, creating ecclesiastical and profane texts and Byzantine hymns in Byzantine notation, the decoding of which has not yet been completed. The tonal addition to these chants by accompanying voices, instruments and drones is not notated and is part of the research on this music.
With regard to the church music of the Benedictine Hildegard von Bingen (1098–1179), abbess of the Rupertsberg monastery near Bingen , which she founded , the same applies to performance practice, although the musical works known under her name have been thoroughly researched and a tonal conception in different interpretations on sound carriers allow. This music is singular within the musical history of the Middle Ages. Particularly well-known were Symphonia armonie celestium revelationum (“Symphony of the Harmony of Heavenly Apparitions”), a collection of sacred songs, and Ordo Virtutum, a liturgical drama , the first of its kind. Hildegard did not have any comparable music or imitators, but her idiosyncratic work remained unique and is the subject of a discussion that has lasted around 900 years.
First print of music
The Renaissance composer Maddalena Casulana Mezari (around 1544–?) Gave concerts as a singer and lutenist in many cities in Italy and as far as Munich and Vienna. Her madrigals (published from 1566) are considered to be the first printed compositions by a woman. Johann Gottfried Walther added her name to his Lexicon of Music (Leipzig 1732) in 1732. She had lively contact with poets and academies and took part in the musical discourse of the time about the modern style of the beginning Seconda pratica , which pursued the interpretation of words and affects on the madrigal. With regard to Casulana Mezari (article “Mezari”), the first major German encyclopedia of music in the past and present gives an example of arrogance in musicology towards female composers: An article about them does exist, which is remarkable in itself; However, towards their compositions he shows unobjective ignorance.
Protagonists of the baroque opera
Francesca Caccini (1587–1640) grew up as the daughter and student of the composer, singer and singing teacher Giulio Caccini in the atmosphere of optimism of the Florentine Camerata around the emerging genre of opera . This was achieved through an invention that revolutionized music, the stile recitativo , a narrative song with a new way of following the word content ( monody ). Francesca appeared on October 6, 7 and 9, 1600 (at the age of thirteen) in the opera Euridice Jacopo Peris and in her father's Il rapimento di Cefalo as a singer on the stage of the Florentine Palazzo Pitti. Together with her father, mother, sister and brother (all of whom were singers) she took part in ensemble concert tours as far as Paris , where they wanted to hire her at the royal court. With her Primo Libro from 1618 Caccini published the most extensive and most progressive collection of music in the newly developed singing style, the monody. and was the first woman to compose operas. The ballet opera La liberazione di Ruggiero dall'isola d'Alcina from 1625 has been preserved. The sources report on a further five music-theatrical works since 1607. The liberation of Ruggiero was performed again for the first time at the international female composer festival in Cologne in 1980.
From La Liberazione di Ruggiero (1625) the independence of the composer speaks as a woman. Contrary to the custom of princely power at the time, she worked out a specifically female view of the opera story.
Eva Weissweiler describes what defines the style nuovo (monody) using Caccini's musical implementation of the two opening words of her aria Nube gentil :
“It [the composition] is based on the poetic image of the cloud covering the face of God. The introductory motif (nube gentil, lovable cloud) conveys a mood of calm melancholy. Through the dissonance on the second syllable, the meaning of the word nube, the unfathomable character of a gray thundercloud, is musically deepened. As the trill progresses, the cloud seems to slowly lighten up until the full sense of the adjective gentil (lovable) is achieved. Even this simple example makes it clear how carefully and precisely Francesca implemented the concept of word-relatedness on which nuove musiche was based in compositional practice. "
Sophie Elisabeth von Braunschweig (1613–1676) took "an important step on the way to the opera" with her theatrical court festivals in Germany. She was a student of Heinrich Schütz , the creator of the first German opera Daphne (1627, not preserved).
A letter from Schütz describes her ability as "a [...] a princess who is incomparably perfected in the praiseworthy profession of music." The proof that she was indeed a student of composition with Heinrich Schütz comes from a further letter dated 22. October 1644, which for a long time was only published by Hans Joachim Mooser. Schütz writes to the Duchess Sophie Elisabeth: “What to do with our musical work, which is useful, best diligence with E. Fürstl. Gn. talk u. tractiren wants to. ”In addition the postscript:“ The new arias we sent from Lackeyen were well received, see from this that E. Fürstl. Gn. from my few instructions have noticeably improved, so we want to hope this little work, next to the praise of God, who will also deserve and acquire an eternal memory of God. "
About the portrait: Notes and sounds have a special meaning: They are likely to be accompanying passages for the sounds in the recitativo style for a reciting soloist. The precisely notated course of notes to which the Duchess points seems to reproduce a continuo part (a vocal melody would have a different appearance). The libretto for Sophie Elisabeth's Singspiel Friedenssieg clearly distinguishes between narrative prose and (dramatic-musical) speech.
As the daughter of the ambitious Prussian Queen Sophie Dorothea of Hanover, Wilhelmine von Prussia , known as "Wilhelmine von Bayreuth", received a musically committed education that was rare even among the nobility. Her teachers included the greats of her time, the lutenist of the Dresden court Sylvius Leopold Weiss , the composer and flautist Johann Joachim Quantz and the Bohemian violin virtuoso Franz Benda . For twenty years she directed the court opera in Bayreuth and wrote several opera libretti for it . Of their opera compositions, only the score by L'Argenore has survived . In 1993 this autograph, which was only rediscovered in the 1950s, was put into musical and scenic performance in the Markgrafentheater Erlangen by the Erlangen University. With L'Argenore , Wilhelmine von Bayreuth denounces the system of absolutism in a complicated way . Against the background of Wilhelmine's memoirs and the personal statements hidden in her opera, an ongoing discussion has arisen since this first performance in Erlangen and the subsequent ones in Berlin and Bayreuth.
Composing virtuosos from Venice
Anna Bon di Venezia (1739 / 40–?) Is an example of a figlie di spese (paying student) at the Venetian Ospedale della Pietà, a very well trained musician from an Italian family of artists. After her training, she appeared as a singer with her parents' traveling opera , with whom she was then engaged at the margravial court of Bayreuth. At the age of sixteen she began to publish her chamber music in the renowned Nuremberg publishing house Balthasar Schmidts Witwe , performed as a singer in Dresden that same year and received the title Virtuosa di Musica di Camera from the Margrave . When she made guest appearances with her parents' opera troupe in Vienna and Pressburg, she had the opportunity to work with Johann Adolf Hasse and Christoph Willibald Gluck . In 1762 she was engaged as a singer with her parents at the court of the Prince of Esterhazy in Hungary under Joseph Haydn as musical employer. Her whereabouts after 1765 are uncertain. Her compositions are known internationally today.
Maddalena Laura Lombardini-Sirmen (1745–1785) was trained like Anna Bon at a Venetian ospedale in Venice, where she had a vacancy. She also made a career outside of Venice afterwards. As a violinist, composer and singer, she has given concerts internationally: Venice, Paris, London, Russia, Dresden. As a composer she was valued by Leopold Mozart, her string quartets were printed at the same time as those of Joseph Haydn (op. 9) by the same Parisian publishing house and are now considered just as innovative.
A Roman maestra di capella
Maria Rosa Coccia (1759–1833), contemporary of Mozart and Beethoven, was a musical child prodigy who appeared in church circles in Rome at the same time as fourteen-year-old Mozart. She was the first woman to hold the patent of a Roman maestra di capella , which can only be obtained under strict conditions . At the same time, Pope Clement XIV lifted the music-making ban for girls in order to counteract castratoism. Until the end of her life she composed - without a permanent job, it seems - and still entertained her parents in old age. With Marianna Martinez , she is one of the only professional musicians to be accepted into the men's society of the Accademia Filarmonica di Bologna . The Academy's judgment of Coccia that she would stand out from the general public as a "profound, knowledgeable and well-founded professor of this science" is all the more remarkable given that the patent took five years to be served. Today Maria Rosa Coccia is unknown and most of her works have been lost.
Sister of a professional composer
Sisters of Famous Men , a book edited by Luise F. Pusch with her epilogue Schwestern or Die Bilanz des Unglücks contains relevant aspects of Fanny Hensel (1805–1847), Felix Mendelssohn Bartholdy's sister , even if she is not one of those portrayed in it. Her life occupies a special position in that the family and descendants kept their compositions under lock and key until 1964 (which, on the other hand, kept their work well preserved). For example, the musical legacy of the “most productive female composer of her time”, comprising well over 450 works, was only registered in the Berlin State Library after the copyright protection expired in the middle of the 20th century. The author of the first complete Fanny Mendelssohn catalog of works (2000) Renate Hellwig-Unruh refers in the foreword to the “very young discipline” of Fanny Hensel research.
Although, according to Eva Weissweiler, following “a reflected” enlightened spiritual direction , the father determined that the musical talent of his elders should not become a vocation as with her brother Felix, but should only be an “adornment of the woman”. Although only in a semi-public setting, she made the garden hall of her parents' house the center of the Berlin concert scene when her brother began his educational and concert tours. The visitors included the musicians Clara and Robert Schumann , Franz Liszt , Niccolò Paganini , Johanna Kinkel and Paul Heyse , the son of the tutor of the Mendelssohn children. He writes in his childhood memories:
"But everything that I received from different sides in terms of musical enjoyment was surpassed by the Sunday concerts in Fanny Hensel's garden hall, to which I had access once and for all."
The composer and conductor Johanna Kinkel (1810–1858) wrote about Fanny Hensel's way of conducting:
“The lecture by Fanny Hensel (née Mendelssohn) and especially the way she conducted was more important to me than the greatest virtuosos and the most beautiful voices I heard there. It was an absorption of the spirit of the composition down to the innermost fiber and the tremendous outflow of it into the souls of the singers and listeners. A sforzando [emphasis] on her little finger drove us through our souls like an electric shock. "
A symphonist
Emilie Mayer (1812–1883), along with Louise Farrenc (1804–1875) and Ethel Smyth (1858–1944), was one of the female symphony composers who were often referred to as “exceptional” in the 19th century.
"Here is such an exception, here shows us a female composer who not only writes for the pianoforte, but also solves the difficult task of orchestral composition teeming with a thousand secrets - and how does it!"
In Friedland in the (former) Duchy of Mecklenburg-Strelitz , where Mayer was born, her 200th birthday was celebrated in 2012. Within their extensive oeuvre, eight symphonies stand out, for whose “deepest mystery of the art of music” […] “a higher spirit was required” in their time. According to the Neue Berliner Musikzeitung (May 1, 1850), “forces of the second order” (meaning female composers) normally did not dare to attempt symphonic work. According to the review, Emilie Mayer was apparently “of the first order”. The composer and her work have been rediscovered, especially since Almut Runge-Woll's dissertation.
Two international careers
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The pianist and composer Clara Schumann (1819–1896) gave her first independent piano concerto at the age of eleven in the Leipzig Gewandhaus , where she also performed variations that she composed herself: an unprecedented success. At the age of fourteen she began composing her piano concerto in A minor, which she performed with an orchestra when she was sixteen; it was soon printed and is still played today. As a child she was used by her father as a professional figurehead of his skills as a piano teacher “with reform pedagogical approaches”, who also encouraged her to compose, and as a 20-year-old she said “a woman doesn't have to want to compose”. At this time her compositions op. 1–11 had already been printed and more followed until 1856. As the wife of the composer Robert Schumann, she experienced the growing family responsibilities as the mother of a total of eight children. After his death in 1856, she built up an international career as a pianist and piano teacher at the second attempt (England, Russia, Paris, Vienna, Holland, Belgium, Italy). Her piano technique and the art of interpretation - today we speak specifically of the “Clara Schumann School” - she passed on to countless students. The Third Reich stylized her as the ideal mother-artist and thus achieved early popularity as a composer.
The Parisian Cécile Chaminade (1857–1944) is one of the few women composers who were successful during their lifetime. Like Clara Schumann, she was a pianist and came from a musical family. Her mother initially taught her privately, as her father did not allow public studies at the Conservatoire de Paris . Until she was 30, the year her father died (1887), she lived and developed at home. Then she had to radically change and live from concerts and her compositions. In 1901 she married the music publisher Louis Mathieu Carbonel, who accompanied her on her concert tours (including to England). In 1902 she composed the Concertino for Flute and Orchestra op. 107 as a commissioned work for a flute competition of the Paris Conservatoire. She gave her first name on the prints of her compositions only in abbreviated form “C.”. The “Concertino for flute and orchestra by Chaminade” thus became a catchphrase for a virtuoso flute work and was part of the training program at music colleges when female composers were still unknown there. In 1908 Chaminade traveled to the USA, where there were now around 100 Chaminade clubs .
Opposites of perception
As a composer, Alma Mahler (1879–1964) submitted to the condition of her prominent husband, the composer and conductor Gustav Mahler , not to compose again after the wedding. She described her inner conflict under the prohibition of composing in her self-biography. In it she vividly conveys what it feels like to want to compose and not be allowed to. In Danielle Roster's The Great Women Composers , Gustav Mahler's reaction is described after he discovered songs by his wife for the first time in years: “What have I done? These songs are good. Simply excellent! I ask you to revise it and we will release it. I won't rest until you start working again. God, I was close! ”Alma Mahler does not mention this fact in her self-biography.
The Karlsruhe composer Margarete Schweikert (1887–1957) received a detailed appreciation in 2004 through an exhibition in the Badische Landesbibliothek. As the wife of a NSDAP member in the Third Reich, her autonomy was hindered insofar as the Nazi law prohibited her from practicing commercial work as a "double-earner".
Born at the turn of the century
Germaine Tailleferre (1892–1983) was the only woman to belong to the famous French " Groupe des Six ", a group of composers around the composer Eric Satie and the writer Jean Cocteau .
Lili Boulanger (1893–1918) is an example of the early completion of a female composer in the sense of the (male) concept of genius. The daughter of Russian-French parents grew up in an artistic milieu and, together with her older sister Nadia Boulanger (1887–1979) (an internationally sought-after composition teacher of the classical avant-garde of the 20th century), received an excellent musical education. At the Conservatoire national supérieur de musique et de danse de Paris could attend only sporadically because she was ill since childhood. Nevertheless, she was the first woman to receive the coveted Premier Prix de Rome of this famous institute. That was a sensation that reached the USA. Her sister had previously received the 2nd prize, which already caused a sensation. The extensive list of Lili Boulanger's compositions includes great works for choir and orchestra. She died at the age of 24 after having only been able to compose in bed at the end.
Born in the first third of the 20th century
Ruth Crawford Seeger (1901–1953) strived for a completely new, experimental musical language. She almost completely stopped her groundbreaking compositional work after marrying the musicologist and composer Charles Seeger. With him she developed "important foundations for music-ethnological research on American folk music". It was only shortly before her cancer death in 1953 that she turned back to composition. Her style remained modern; her mostly short works are atonal, dissonant and perfectly structured. Many of their innovations were only taken up again by later composers.
Kerstin Thieme (1909–2001) was born as Karl Thieme in Niederschlema (Ore Mountains). After studying music and composition at school, doing his doctorate and teaching in Leipzig, Thieme was a soldier on the front lines from 1939 to 1945. After the war she worked as a lecturer at the Nuremberg Conservatory and at the Chair of Music Education at the University of Erlangen-Nuremberg. In 1974 Thieme underwent a gender reassignment and in 1976 took the name Kerstin Anja Thieme. She died in Stuttgart in 2001.
Thieme had his first compositional successes during his time in Leipzig. The works composed in Nuremberg, often text-bound, in which the religious element plays an important role, were primarily associated with the local music scene, with choirs, orchestras, chamber musicians and soloists in the region. Works such as Canticum Hoffnung after Nelly Sachs , a triptych for soprano solo and mixed choir (1973), and the Requiem for 2 solos, mixed choir, organ and orchestra (1998) are considered outstanding.
In the 1980s, Thieme was of the opinion that male and female composing were different from one another. She later found sexual identity less important. She was attacked because of her gender reassignment, also from the feminist side. She was u. a. accused of having, through her formerly male socialization, unfairly achieved artistic and professional goals that she would probably have been denied as a so-called 'organic' woman. With music-analytical methods and based on the text templates for the vocal works, no significant differences between the works before 1974/1976 and afterwards could be ascertained.
Jens Voskamp described Kerstin Thiemes musical language using Thiemes Requiem as an example . He mentions Thiemes' preference for powerful percussion sections as well as the combination of cantability and vehement rhythm. The instrumental movement sums up tradition, including serial and Webern-related elements. However, the concise sound language does not come in like a postmodern pasticcio, but mix the traditional ingredients as little stones to form a mosaic of original fantasy.
Brigitte Schiffer (1909–1986), composer, ethnomusicologist, music teacher and music critic, lived in various places in childhood and youth, including Alexandria, Egypt (1923–29). From April to October 1933 Brigitte Schiffer was on a research trip to Egypt to the Siwa Oasis on behalf of the Berlin Phonogram Archive. When she returned to Berlin, she was no longer matriculated at the university because of her Jewish origins, but thanks to the efforts of the musicologist Arnold Schering, professor of music history at the University of Berlin, she was able to re-enroll. She completed her studies in 1935 with a doctorate “The Siwa Oasis and its Music”. Then she emigrated to Egypt.
Brigitte Schiffer created various works as a composer, including a string quartet and a concerto grosso. During her time as a composition student in the 1930s, the string quartet was written in 3 movements, which could only be performed in a small group in the climate of the beginning persecution of the Jews. The string quartet was performed again on June 26, 2014 in the Konzerthaus Berlin (event series “musica reanimata”, 113th lecture concert on persecution and rediscovery) and broadcast on August 6, 2014 on Deutschlandfunk. Her dissertation as a music ethnologist, the music of Die Oase Siwa , was able to be published in 1936 under difficult circumstances by a publisher damaged by the National Socialists.
In Cairo, she worked as a music teacher at the State Institute of Education for Women in Fine Arts from 1937 to the early 1960s, after which she became head of the institute's music department. In 1950 she first lectured at the International Summer Courses for New Music in Darmstadt , she was a regular participant and reporter in the following period. Long-standing correspondence connects her with personalities such as Hans Heinz Stuckenschmidt , Carla Henius , Wladimir Vogel and Hermann Scherchen .
The Polish composer, violinist, pianist and studied philosopher Grażyna Bacewicz (1909–1969), among others a student of Nadia Boulanger in Paris, gained early popularity. As a violinist, she played in the Polish radio orchestra for three years and toured Europe as a soloist before the Second World War. She also interpreted her own piano works and was active as a writer. She left a multifaceted work that u. a. Contains six symphonies and 17 string quartets. A marginal circumstance shows her international reputation as a composer: her name is listed almost 10 years after her death in the catalog of competition pieces for the German national competition "Jugend musiziert", in which there are hardly any female composers.
Ruth Schönthal (1924–2006) (also Ruth Schonthal), is one of the few female composers who have been included in the new Riemann Music Lexicon (2012). At the age of five she began to study piano at the Stern Conservatory in Berlin (from 1930), as a Jew she had to leave it again in 1935. She emigrated with her family to Sweden, where she resumed her studies at the Royal Academy in Stockholm in 1938. As a “persecuted composing woman”, she repeatedly had to break up her tents and then lived in the USSR, Japan, Mexico and the USA. She met Paul Hindemith in Mexico City and became his student at Yale University through a scholarship he personally arranged. She included influences from her exile countries in her compositions - including Mexican folk music and American avant-garde (e.g. minimal music ). She wrote the postmodern opera Jocasta (1998), concerts, as well as piano and chamber music. In 2010 a more detailed short biography of Ruth Schönthal was published in the Lexikon Musik und Gender, written by Peri Arndt.
Jana Obrovská , born in Prague in 1930 as the daughter of the painter Jakub Obrovský , became known primarily through compositions for guitar, which were performed worldwide - beginning by her second husband, the guitarist Milan Zelenka .
Contemporary composers
- In 1992 the musicologists Hanns-Werner Heister and Walter-Wolfgang Sparrer initiated a lexicon for composers of the 20th and 21st centuries under the title Composers of the Present ( Edition text + kritik ). The loose-leaf collection (pdf) they maintain, which now has around 9,000 pages, contains articles on contemporary composers, arranged alphabetically by name and searchable online for a fee.
- In composer portraits published Elisabeth greasers 2010 (. 1st edition 2003) in chronological order 200 short portraits with all the important life and work data from 200 composers, including female 18; the earliest: Hildegard von Bingen. At the beginning there is a short “profile” of the artist. The composers included, who continued to work well into the 20th and 21st centuries, are: Ethel Smyth (1858–1944), Germaine Tailleferre (1892–1983), Lili Boulanger (1893–1918), Grete von Zieritz (1899–2001 ), Ruth Crawford Seeger (1901–1953), Sofia Gubaidulina (* 1931), Pauline Oliveros (1932–2016), Meredith Monk (* 1942), Kaija Saariaho (* 1952), Adriana Hölszky (* 1953), Isabel Mundry ( * 1963) and Olga Neuwirth (* 1968).
See also
- List of women composers
- List of female conductors
- Women in the Rock and Roll Hall of Fame
- List of female jazz and improvisation musicians
- List of female musicians in electronic music
- Coloratura sopranos (several lists)
- Women in Music (initiative in the US before World War II)
literature
Literature (chronological) on material, persons and titles
- Sophie Drinker : Music and Women. The Story of Women in their Relation to Music . New York 1948. Edition in German under the title Die Frau in der Musik. A sociological study. Atlantis Verlag, Zurich 1955.
- Aaron I. Cohen: International Encyclopedia of Women Composers . 1981. Second revised and expanded edition (2 volumes) 1987. He also published an international discography.
- Eva Rieger : woman, music and male rule. To exclude women from German music education, musicology and music practice . Ullstein, Frankfurt / M, Berlin, Vienna 1981, revised edition 1988.
- Eva Weissweiler : female composers from the Middle Ages to the present . 1981, revised edition 1999.
- Antje Olivier : European Women's Music Archive Women composers. An inventory . 1990.
- Freia Hoffmann : instrument and body. The woman making music in bourgeois culture . 1991.
- Luitgard Schmitt : Inventory of women composers, a selection list from the holdings of the Munich Music Library (Munich City Library. Music Library, inventory no. 16, 1991)
- Julie Anne Sadie , Rhian Samuel (Ed.): The Norton / Grove Dictionary of Women Composers . 1994.
- Barbara Garvey Jackson : Say can you deny me. A guide to surviving music by women . 1994.
- Claudia Friedel : Women composing in the Third Reich . 1995.
- Clara Mayer (Ed.): COM. Composers in music publishing. Women composers in publishing. 1996.
- Linda Maria Koldau : women music culture. Attempt to reconstruct the reality of life and the prevailing image of women . 2005.
- Marion Gerards and Freia Hoffmann: Music - Women - Gender. Directory of books 1780–2004 . 2006.
- Melanie Unseld (Ed.): Reclams composers lexicon . 2009.
- Annette Kreutziger-Herr and Melanie Unseld (Eds.): Lexicon Music and Gender . 2010.
Literature (alphabetical)
- Jane L. Baldauf-Berdes : Women Musicians of Venice . (Oxford Monographs on Music), Clarendon Press, Oxford 1993, ISBN 0-19-816236-7 .
- Berliner Musikfrauen e. V .: female composers in Berlin . In cooperation with the Senator for Cultural Affairs, the Berlin University of the Arts, the Sender Free Berlin and the Berlin artist program of the DAAD, (West) Berlin 1987.
- Beatrix Borchard , Monika Schwarz-Danuser (Eds.): Fanny Hensel, née Mendelssohn-Bartholdy. Art between the ideal of conviviality and romantic musical aesthetics . Fue 8110, Kassel 1997, 2nd edition 2002, ISBN 3-927327-54-9 .
- Charles Burney : Diary of a musical journey, complete [German] edition, Hamburg 1772/1773 . (Christoph Hust (Hrsg.): Documenta Musicologica . First series: Druckschriften-Faksimiles XIX .) Bärenreiter Kassel, 2nd edition 2004, ISBN 3-7618-1591-3 . Describes, among other things, the Venetian [girls] ospedali.
- Ute Büchter-Römer : Top careers for women . Top Music, Munich 2011, ISBN 978-3-9807515-9-9 .
- Robert Eitner : Sources Lexicon . Volume 5, 1959 (on Casulana).
- Isabelle Emerson : Five Centuries of Women Singers . (Music Reference Collection Number 88), Praeger Publishers, Westport, Connecticut, London 2005, ISBN 0-313-30810-1 .
- Sami Fong: Closing the Music Industry Gender Gap. In: Backstage Pass. Volume 2, No. 1, Article 15 (English; University of the Pacific , California; online at pacific.edu ).
- Judith Förner: Musical girls (dreams). The importance of female adolescence for the development of musical and artistic productivity . ( Women, Society, Criticism, Volume 33), Centaurus-Verlagsgesellschaft, Herbolzheim 2000, ISBN 3-8255-0250-3 .
- Irene Hegen: Maria Rosa Coccia (1759-1833). "Not correct, but masterful" . In: Clara Mayer (ed.): Approach XIII - to seven women composers . Furore Verlag Kassel, 2002, ISBN 3-927327-56-5 , pp. 28-50.
- Barbara Garvey Jackson : Say can you deny me. A guide to surviving music by women from the 16th through the 18th centuries . University of Arkansas Press, Fayetteville 1994, ISBN 1-55728-303-6 .
- Marion Gerards, Freia Hoffmann : Music - Women - Gender, list of books 1780–2004 . (Freia Hoffmann (Ed.): Series of publications by the Sophie Drinker Institute . Volume 4), BIS-Verlag der Carl von Ossietzky University, Oldenburg 2006, ISBN 3-8142-0966-4 .
- Elisabeth Gössmann (Ed.): Eva God's masterpiece . ( Archive for women's research in the history of philosophy and theology , Volume 2), 2nd expanded edition. Munich, Juditium 2000 (historical writings, partly in facsimile, with commentary text part. Contains Johann Frauenlob's Die Lobworthige Gesellschaft der Schehrten Weiber . Pp. 114–159), ISBN 3-89129-002-0 .
- Rebecca Grotjahn, Freia Hoffmann: Gender polarities in the history of music from the 18th to the 20th century . Centaurus Verlag 2002, ISBN 978-3-8255-0330-7 .
- Rebecca Grotjahn, Sabine Vogt (with the assistance of Sarah Schauberger): Music and Gender (= Compendia Music Vol. 5), Laaber 2010, ISBN 978-3-89007-725-3 .
- Freia Hoffmann : Instrument and body: the woman making music in bourgeois culture . Frankfurt / M. 1991, ISBN 3-458-32974-9 (here especially violin and Venetian ospedali).
- Birgit Kiupel: Between war, love and marriage. Studies on the construction of gender and love in the libretti of the Hamburg Gänsemarkt Opera (1678–1738) . Centaurus Verlag, Freiburg 2010, ISBN 978-3-8255-0721-3 .
- Linda Maria Koldau : Women-Music-Culture. A manual on the German-speaking area of the early modern period . Böhlau Verlag, Cologne and Weimar 2005, ISBN 978-3-412-24505-4 .
- Cultural Institute for Women Composers, yesterday – today e. V. (Ed.): Women composers yesterday-today . International Festival Heidelberg, 12. – 14. June 87. Heidelberg 1987, ISBN 3-920679-01-6 .
- Annette Kreutziger-Herr , Melanie Unseld (Ed.): Lexicon Music and Gender . Bärenreiter / Metzler, Kassel 2010, ISBN 978-3-7618-2043-8 .
- Bernhard Moorbach: The music world of the baroque . Bärenreiter, Kassel 2008, ISBN 978-3-7618-1716-2 .
- Leni Neuenschwander (Ed.): The woman in music. The international competitions for women composers 1950–1989. A documentary by Leni Neuenschwander . Mannheim 1989.
- Erich Hermann Müller von Asow: The Mingottic Opera Enterprises 1732-1756 . Dissertation. Leipzig, Dresden 1915. (On Teresa Pircker: List of her and her husband's appearances)
- Music in the past and present (1). Ed .: Friedrich Blume, Kassel u. a. Volume 9, 1961 (on Mezari, Maddalena de, called Casulana).
- Music in the past and present (2). Ed .: Ludwig Finscher, Kassel etc. Volume 4, 2000 (on Casulana).
- Antje Olivier, Karin Weingartz-Perschel: Composers from A-Z . Toccata Verlag für Frauenforschung, Düsseldorf 1988, ISBN 3-9801603-0-0 .
- Antje Olivier, Sevgi Braun: women composers from 800 years . Esquentia-Verlag, Essen 1996, ISBN 3-931984-00-1 (2nd edition by female composers from A – Z ).
- Karin Pendle and Melinda Boyd: Women in Music. A Research and Information Guide . Second Edition, Routledge Music Bibliographies, New York and London 2010, ISBN 978-0-415-99420-0 , Bibliography (hbk) (?).
- Karin Pendle: Women & Music. A history . Indiana University Press, Bloomington & Indianapolis 1991, ISBN 0-253-34321-6 .
- Karin Pendle: Women & Music. A history . Second edition, Indiana University Press, Bloomington & Indianapolis 2001, ISBN 978-0-253-21422-5 .
- Sabine Doyé, Marion Heinz, Friederike Kuster (eds.): Philosophical gender theories. Selected texts from antiquity to the present . Philipp Reclam jun., Stuttgart 2002, ISBN 978-3-15-018190-4 .
- Luise F. Pusch (ed.): Sisters of famous men. Twelve biographical portraits . Insel, Frankfurt am Main, u. a., 1985, ISBN 3-458-32496-8 .
- Eva Rieger (Ed.): Woman and Music . Fischer paperback, Frankfurt / M. 1980 (Gisela Brinker-Gabler (Hrsg.): The woman in society. Early texts) ISBN 3-596-22257-5 .
- Eva Rieger (Ed.): Woman and Music. Bibliography 1970–1996 . Olms, Hildesheim-Zurich-New York 1999, ISBN 3-487-10320-6 .
- Eva Rieger: woman, music and male rule. To exclude women from German music education, musicology and music practice . (1981), 2nd edition Furore, Kassel 1988, ISBN 3-9801326-8-4 .
- Eva Rieger: Nannerl Mozart . Insel-Verlag Frankfurt am Main, 2nd edition 1991, ISBN 3-458-16113-9 .
- Alec Robertson and Denis Stevens (eds.): History of Music. Renaissance and Baroque . German edition Prestel-Verlag, Munich 1990 (1963), ISBN 3-88199-711-3 . (In it Anthony Milner: The late Renaissance . On Ferrara in particular pp. 151/52) ISBN 0-253-21422-X .
- Yvonne Rokseth: The musicians of the 12th to 14th centuries . Translated by Birgit Salomon and Freia Hoffmann. ( Les Femmes musiciennes du XII au XIV siècle. In: Zeitschrift Romania, LXI, 1935, pp. 464-480.) In: Freia Hoffmann and Eva Rieger (eds.): From the musician to the performance artist. In search of a women's musical history . (Woman and Music, international working group, volume 2) Furore-Edition Kassel 1992, ISBN 3-927327-11-5 , pp. 40–59.
- Danielle Roster: The great women composers. Insel Taschenbuch, Frankfurt am Main 1995, ISBN 3-458-33816-0 (here: on Venetian Ospedali and Anna Maria dal violin).
- Almut Runge-Woll: The composer Emilie Mayer (1812–1883). Studies of life and work . (= European University Writings, Series XXXVI, Musicology, Volume 234). Peter Lang, Frankfurt am Main 2003, ISBN 3-631-51220-1 .
- Stanley Sadie: The New Grove Dictionary of Musik and Musiciens Volume 5: Canon to Classic rock. Grove's Dictionaries of Music, New York 2001 OCLC 777495546 .
- Stanley Sadie, Rhian Samuel (Eds.): The Norton / Grove Dictionary of Women Composers . The MacmillPress Limited 1994, ISBN 0-333-51598-6 and The Norton Grove Dictionary of Music and Musicians and executive editor John Tyrrell, respectively.
- Ursula Scheu: We are not born girls - we are made to be. (The woman in society.) Fischer Taschenbuch Verlag (?), ISBN 978-3-596-21857-8 .
- Claudia Schweitzer: "... by the way, is highly recommended as a teacher" . In: Cultural history of the piano teacher. (Series of publications by the Sophie Drinker Institute). Freia Hoffmann (Ed.), Bis-Verlag of the Carl von Ossietzky University, Oldenburg 2007, ISBN 978-3-8142-2124-3 .
- Michael K. Slayton (Ed.): Women of Influence in Contemporary Music. Nine American Composers . Scarecrow Press, 2010, ISBN 978-0-8108-7742-9 .
- Freed from silence, International Festival of Women Composers. Kassel, March 20-22 February 1987. Ed .: The representatives of the Hessian state government for women's affairs, Wiesbaden 1987.
- Johann Gottfried Walther: Musical Lexicon or Musical Library (1732). New edition, Bärenreiter Kassel etc. 2001, ISBN 3-7618-1509-3 .
- Eva Weissweiler : female composers from the Middle Ages to the present . DTV, Munich 1999, ISBN 3-423-30726-9 (first edition: women composers from 500 years, 1981).
- Eva Weissweiler: Eliminated! The Lexicon of the Jews in Music and its Murderous Consequences . Dittrich-Verlag, Freiburg 1999, ISBN 3-920862-25-2 .
- Saskia Maria Woyke: Faustina Bordoni. Biography vowel profile reception . Peter Lang, international science publisher, Frankfurt am Main a. a. 2010, ISBN 978-3-631-57950-3 .
Web links
- Dagmar Penzlin: Women in professional orchestras: the future is female. In: NDR culture . March 5, 2020 ("An occasion to count the gender distribution in German professional orchestras; the conclusion: the future of orchestras is female").
- Christina Schäfers (project manager), interviewed by Kim Lara Oswald: #Keychange: Empowering Women in Music. In: Reeperbahn Festival : The Journal. September 2019.
- Miriam Stolzenwald: The music industry wants to overcome the gender gap. In: NDR culture . November 13, 2019.
- Ange McCormack: By the numbers 2019: The gender gap in Australian music revealed. In: Abc.net.au. March 8, 2019 (English; there also the Australian annual evaluations 2016–2018).
- Sophie-Drinker-Institut : Lexicon of female instrumentalists (work in progress) dbis.uni-regensburg.de
- Contemporary composers , Edition Text + kritik , loose-leaf collection, contains composers of the 20th and 21st centuries: nachschlage.net (PDF).
- Keynote Changes for Women in Music and the Performing Arts, a cura di Patricia Adkins Chiti, Intrhunderts 21st Jahroduzione MEP Silvia Costa, S&D, European Parliament, Bruxelles, 2014, e-Book, 165 pages
- Tobias Stimmer : Woodcuts of Renaissance women making music, around 1575, online .
- Volker Schmidt: Gender Research - The Woman's Room in the Music Room for the Lexicon Music and Gender in: Die Zeit from June 22nd, 2010.
- University of Music and Drama Hamburg: Music education and gender research: encyclopedia of female musicians and multimedia presentations
- Archive woman and music
- Sigrid Aldehoff: Music only as an ornament , in: Frankfurter Rundschau from February 9, 2013.
- Women's music on Frauenmusikbuero.de (information exchange, network)
- (Collection of female composers under construction) (Collection of female composers under construction)
- Presentation: The woman in music on studentshelp.de
- Women in Music on m.schuelerlexikon.de
- Women in Music (radio, 2010–2011?) On grassrootsfeminism.net (international collection of material on women in music, under construction)
- IAWM International Alliance for Women in Music
- Zeit online: Exhibition of Clara Schumann's Sisters
- Iwalewa world music, Africa's women
- musica reanimata Association for the rediscovery of Nazi persecuted composers and their works e. V.
- musica femina münchen eV Association for the performance of works by modern as well as historical composers in and around Munich
- Archive woman and music | International Working Group on Women and Music The world's largest, oldest (founded 1979) and most important archive for music by women from the 9th to the 21st century, approx. 23,000 media units by around 1,800 female composers from 52 countries
- The feminine string
Sound examples
On Youtube:
Early music
- Kassia Byzantine hymns on YouTube
Italian renaissance
- Eleonora d'Este : New discovery by Laurie Stras of the nun Eleonora d'Este, daughter of Lukrecia Borgias
- Maddalena Casulana Mezari : soprano and lute
- Vittoria Raffaella Aleotti : vocal ensemble
Baroque concertante
Baroque opera
- Elisabeth Jacquet de La Guerre Opera Cephale et Procris
- Wilhelmine von Bayreuth opening choir from the opera Argenore
Italian baroque
- Francesca Caccini : Ciaconna
- Barbara Strozzi : Mariana Flores Sino alla morte
- Isabella Leonarda violin sonata with basso continuo. Ensemble 1696 Magnificat
French baroque
Rococo
Classic
romance
- Fanny Hensel Piano music with a recording by the pianist Daniela Willimek
- Louise Farrenc Symphony No.3 (1847)
Lili Boulanger, early 20th century
- Lili Boulanger (1893–1918): Pie Jesu , Hymne Au Soleil (1911) , D'un Jardin for piano , Nocturne for piano and violin (+ historical photos)
Worldwide
- Indian vina player, painting 1720 for listening
- Indian sitar player
- Lusine Zakarya: Classical Armenian singing
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Avant-garde of the 20th / 21st centuries Century
- Grete von Zieritz (1899–2001) Concertino 1987, Philharmonic Octet Berlin, on YouTube
- Sofia Asgatowna Gubaidulina (* 1931) De Profundis for accordion, live on YouTube, part 1 part 2
- Pauline Oliveros (1932–2016) A Love Song for vocals plus instruments, on YouTube
- Meredith Monk (* 1942) vocal techniques a mystik fire , live on YouTube
- Meredith Monk Vow for voice, cello, viola and violin, on YouTube
- Adriana Hölszky (* 1953) String Quartet On Schubert 1989/90 (1/2), on YouTube
- Laurie Anderson (* 1947) in concert at Luminato, Ensemble live on YouTube
- Mamoru Fujieda (* 1955) Gyro Tango for piano, 1995
Individual evidence
- ↑ Women in Music Literature at worldcat.org
- ↑ For the background, see: Sabine Doyé, Marion Heinz, Friederike Kuster (Ed.): Philosophical gender theories. Selected texts from antiquity to the present 2002.
- ^ Bärenreiter Verlag Kassel, Metzler Verlag Stuttgart and Weimar 2010. Foreword p. 9 and 10.
- ↑ Chronicle of the New Women's Movement: Early Spring, 1968–1970. Ute Gerhard: Women's movement and feminism, a story since 1789. CH Beck Verlag Wissen, Munich 2009, ISBN 978-3-406-56263-1 . (5. The “new” women's movement.) Pp. 107–125.
- ^ Eva Rieger: Woman, Music and Men Rule. - Furore-Verlag, Kassel 1988, ISBN 3-9801326-8-4 (2nd edition = Furore-Edition 828). Foreword to the second edition, first p. (Not paginated).
- ↑ Woman, Music, and Man's Rule. 1988, first page.
- ^ Elke Mascha Blankenburg : Female conductors in the 20th century. Europ. Verl.-Anst., Hamburg 2003, ISBN 3-434-50536-9 , p. 22.
- ^ Information from President Patricia Adkins Chiti by email on March 13, 2013.
- ↑ Hartmut Lück on Bremer Rundfunk on August 21, 1981 after the publication of the book Frau, Musik & Männer-Herrschaft by musicologist Eva Rieger . Foreword to the second edition 1988, pp. 1–2.
- ↑ Gesa Finke and Melanie Unseld: Article tradition . In: Annette Kreuziger-Herr, Melanie Unseld (Ed.): Lexikon Musik und Gender 2010, p. 505 and continuing.
- ↑ Eva Weissweiler: Female composers from the Middle Ages to the present 1999, p. 23 ff.
- ↑ Cooper 1981/88, the preface to the first edition: representation of a Kitharaspielerin 1,400 years before Christ on a Cretan Tonsarg. Weissweiler 1981/99, p. 24 of the 2nd edition: Phorminx at the victim, Crete around 1400 BC.
- ↑ Eva Weissweiler: Introduction to the subject in: Liberated from silence. Pp. 14-16.
- ↑ Examples: Paul Henry Lang: Die Musik im Abendland (translation from the American Rudolf von der Wehd) Manu Verlag Augsburg [1947] (American version 1941) and Karl H. Wörner: History of Music, a study and reference book. Vandenhoeck & Ruprecht Göttingen 1961 (3rd edition).
- ^ Elke Mascha Blankenburg: Female conductors in the 20th century. P. 19.
- ↑ “Is composing a women's profession, at least to the same extent as painting and writing books?” So Detlef Gojowy in the FAZ on 9/10. October 1976 (quoted in Weissweiler 1999, contemporary composers, p. 386 ff.)
- ↑ But these are [...] exceptions that do not change the fact that the exclusion of historical female composers from the concert repertoire has been almost as constant since the first publication of this book [Weissweiler 1981] [...] . So Weissweiler 1999: Foreword to the new edition. P. 12
- ↑ Pauli African ban: de.bogoslov.ru ( Memento of 14 July 2014 Internet Archive ); Elisabeth Gössmann: Eve in the Hebrew Bible and its interpretation through the centuries. In: Eva Gottes Meisterwerk ( archive for women's research in the history of philosophy and theology, Volume 2). iudicium Munich 2000. (Introduction, pages 11–45. For Paul’s letter to the Corinthians 14.33b – 36, see pages 20/21).
- ↑ Wikiquote: q: Paul of Tarsus .
- ↑ homepage basic Bible basisbibel.de
- ↑ Homepage of Biblical Studies [1]
- ↑ Music and Education, magazine for theory and practice. Volume 28, B. Schott's Sons, Mainz 1996, p. 26.
- ↑ Rodolfo Celletti : Storia del belcanto. Translated several times, German: History of Belcanto , Bärenreiter, Kassel 1989.
- ^ Rieger: Woman music and man rule. 1988, Chapter I: Women in the field of music education. Pp. 20 to 104, in particular pp. 38 to 59 ( Jean-Jacques Rousseau , Pestalozzi , Basedow ).
- ^ Karl Heinrich Heydenreich : The private educator in families, as he should be. 2 volumes, Leipzig 1800/01, quoted from Rieger: Frau Musik und Männerherrschaft. Pp. 55/56.
- ↑ Christopher Hogwood: Handel. A biography. Island TB, Frankfurt a. M. u. Leipzig 2000, pp. 152-156; Emerson, Isabelle: Five centuries of female singers. Praeger, Westport, Connecticut, London 2005, ISBN | 0-313-30810-1, p. 71. google.de .
- ^ Eva Rieger: Frau, Musik und Männerherrschaft (1981), p. 10.
- ↑ European female instrumentalists of the 18th and 19th centuries. ( Memento from October 1, 2011 in the Internet Archive ) In: sophie-drinker-institut.de. ( dbis.uni-regensburg.de ).
- ↑ RISM music prints before 1800 (Series A / I), thematic catalog on CD-ROM until 2008, KG Saur Verlag; Music manuscripts after 1600 (Series A / II), RISM-Online OPAC free of charge. Ed .: Internationales Quellenlexikon der Musik (RISM).
- ↑ Example: The Furore Verlag evaluates sources such as the RISM and since 1986 has exclusively published music by women (modern and rediscovered) such as B. Francesca Caccini, Fanny Hensel and Mel Bonis.
- ↑ Karl H. Wörner: History of Music , Vandenhoeck & Ruprecht, Göttingen 1961 (new version), pp. 20–24.
- ↑ Riemann Musik Lexikon 2012, Volume 5, Article Top .
- ↑ Elisabeth Gössmann (Ed.) 1996, Chapter VI, pp. 230/257 and 263.
- ↑ Clemens M. Gruber: Not only Mozart's rivals. Life and work of the Austrian opera composers. Neff's small library of fine arts, Vienna 1990, RISM 3-7014-0302-3, p. 9.
- ↑ Koldau, Part III: Music in the women's monasteries and religious women's communities. Pp. 583 to 965.
- ↑ Linda Maria Koldau: Women-Music-Culture . a manual on the German-speaking area of the early modern period. Böhlau Verlag, Cologne and Weimar 2005, ISBN 978-3-412-24505-4 , pp. 583-971 ( books.google.de ).
- ↑ Koldau 2005, p. 729.
- ↑ Linda Maria Koldau: Women-Music-Culture . a manual on the German-speaking area of the early modern period. Böhlau Verlag, Cologne and Weimar 2005, ISBN 978-3-412-24505-4 , pp. 719-732 ( books.google.de ).
- ↑ Lucrezia Orsina Vizzana According to the “comprehensive overview” of Kathi Meyer's dissertation, The Choral Singing of Women. Leipzig 1917, quoted from Weissweiler: Female composers 1999. p. 95 and fn. 17, 19.
- ↑ Linda Maria Koldau: Women-Music-Culture . a manual on the German-speaking area of the early modern period. Böhlau Verlag, Cologne and Weimar 2005, ISBN 978-3-412-24505-4 , pp. 656 ff . ( books.google.de ).
- ↑ Walther Lexicon 1732.
- ↑ See Karin Pendle: Women 1991 (1), pp. 44/45 and 49–51.
- ↑ Mentioned in detail in Die Musikwelt des Barock. P. 246–247 by Bernhard Moorbach, who dedicates a chapter to women in a man's world - women composers of the Baroque era .
- ↑ Moorbach: S. 247/8.
- ↑ See Isabelle Emerson: Five Centouries of Women Singers. P. 1 f, as well as Pendle: The Nuns of san Vito. In: Women & Music. 1991, pp. 44-45 and Ferrara's Concerto delle Donne, in: Pendle: Women & Music. Second edition 2001.
- ^ Emerson: Preface and Chapter 1: Ladies of Italy. Pp. 1-22.
- ↑ Milner, p. 151.
- ↑ Milner in Robertson and Stevens History of Music. Volume 2, pp. 151/52.
- ↑ Milner p. 151; compare Pendle p. 44 / note. 14, p. 52 (contemporary report by Ercole Bottrigari).
- ↑ For example the violin concertos RV 223, 286 and 763 for Anna Maria, see catalog raisonné in Talbot 1985, p. 263 ff and RISM OPAC online. More works by Vivaldi for his students in the Saxon State Library - Dresden State and University Library . slub-dresden.de
- ↑ Helen Geyer, Wolfgang Osthoff (Ed.): Music at the Venetian Ospedali / conservatories from the 17th to the early 19th century. (Centro tedesco di Studi Veneziani). Rome 2004; Jane L. Baldauf-Berdes: Women Musicians of Venice. (Oxford Monographs on Music), Clarendon Press, Oxford 1993, ISBN 0-19-816236-7 .
- ↑ Evrand Titon du Tillet: Parnasse françois, suivi of Remarque sur la poésie et la musique et sur l'excellence de ces deux beaux-arts avec des observations sur la particulières poetry et la musique Francoise et sur nos spectacles. Paris, 1732 in-folio dont les Vies des Musiciens et autres Joueurs d'Instruments du règne de Louis le Grand (1732, aug. 1743, 1755).
- ^ Eva Rieger: Woman music & man rule. Here within I .: The woman in the field of music education. Pp. 20-97.
- ↑ Eva Weissweiler 1999. Therein musically creative women from antiquity to the Middle Ages. P. 23 ff.
- ↑ Lexicon of Music and Gender. Article historiography ( 6th music historiography, symmetrical, p. 255).
- ↑ Lexicon of Music and Gender. P. 9 (Against the "rectification" of music history).
- ↑ Johannes Brahms Monument in Vienna.
- ↑ Printed in: Troubadoura No. 8, June 1980, pp. 20-23. (Quoted from Claudia Friedel, composing women in the Third Reich. P. 431, sources and materials. )
- ↑ FAZ from 9./10. October 1976. Quoted from Weissweiler 1999, p. 386.
- ↑ Weissweiler 1999, Female Composers of the Present p. 386.
- ↑ See you upgrade women, festival in Bremen November / December 1993, catalog Bremen 1984, p. 57 (Tanztheater Cornelia von Heidrun Vielhauer and Rotraut de Neve).
- ^ Editions Aimery Somogy, Paris. Foreword to the German licensed edition for Bertelsmann, Reinhard Mohn OHG, Gütersloh and four other book clubs and publishers in Germany and Vienna, no year [1976], editor Ludwig Knoll.
- ↑ Orlandus Lassus: German song I poor man. From the third part of beautiful, newer, German songs. Reprint by Adolf Sandberger .
- ^ Hugo Riemann: History of Music in Examples , Leipzig 1931.
- ^ Verlag Richard Meres London, approx. 1715. Modern edition: Furore Verlag, ed. by Elke Maria Umbach.
- ↑ On Maddalena Casulana's works in the article “Mezari, Maddalena (de)” one reads only “The few surviving works [67 madrigals] do not offer any particular interest.” Barbara Strozzi remained with the smallest mention, appended to the article “Strozzi, Guilio” ( her adoptive father), without its own article. In contrast, "Élisabeth Claude Jacquet de La Guerre" received a thorough appreciation by the Parisian Simone Wallon within the article about the entire family. “Vittoria Raffaella Aleotti” first appeared (as two female composers) in Supplement Volume 1973, and also only in Supplement Volume 2 in 1979 Fanny Hensel .
- ↑ Lexicon Music and Gender, pp. 93/94.
- ↑ See Music and Gender pp. 93/94, 369/370 (Gesa Finke).
- ↑ Mozart and Constanze. Reclam 2001, ISBN 3-15-008280-3 (first John Murray, London, 1983).
- ↑ Lexicon Music and Gender, Gesa Finke, p. 369/370.
- ↑ See also Eva Rieger on Constanze Mozart in Fembio .
- Jump up ↑ What paternal care means, for she was his lifelong housekeeper. S. Hans Franck Johann Sebastian Bach , Union Verlag Berlin , VOB Leipzig, p. 135.
- ^ Claudia Friedel: Women composing in the Third Reich
- ↑ Claudia Friedel: Women composing in the Third Reich, according to p. 448, materials appendix M 25 - M 31 (Gunhild Keetmann as head of the Olympic Youth ) and M 59 (Elisabeth Kuypter, title page Hymn to Work ).
- ↑ Jean-François Chiappe ((ed.) :) The famous women of the world from AZ. German foreword by Ludwig Knoll, p. 6: There is only one area where there is a complete lack of famous women: there is not a single female composer of significant importance. As far as I know, no one has tried to explain this failure. [...] It seems that women are only slightly inclined to higher imaginations.
- ^ Saskia Maria Woyke: Faustina Bordoni. Biography - vowel profile - reception. Lang, Frankfurt am Main a. a. 2010, ISBN 978-3-631-57950-3 .
- ↑ The question of whether women can compose was asked again and again, although each time it was answered clearly and positively. Friedel speaks of a “prejudice sanctified by music history”. See Claudia Friedel: Women composing. P. 34.
- ↑ Eberhard Preussner: The woman in music. In: Contributions to the 1961 Festschrift, printed in Die Frau in der Musik. The international competitions for women composers 1950–1989. A documentation by Leni Neuenschwander (Ed.), Mannheim 1989, p. 41.
- ↑ "How I would like to compose, but here I definitely can't ... I console myself with the fact that I'm a woman and they weren't born to compose." (Quoted from the foreword by Leni Neuenschwander - The woman in music - 1989, p. 5.)
- ↑ Quoted from Friedel composing women. P. 106.
- ↑ Casulana Mezari In: MGG 1, Volume 9, 1961, Columns 261-262.
- ^ Letter in: Weissweiler 1999, p. 195.
- ^ Die Welt, September 16, 2000.
- ↑ Sophie Drinker: The woman in music. A sociological study. Atlantis Verlag, Zurich 1955.
- ↑ Weissweiler: Female composers from the Middle Ages to the present, 1999, pp. 10 and 11.
- ↑ See Weissweiler 1999, p. 322.
- ^ Eva Rieger: Woman music and man rule. To exclude women from German music education, musicology and music practice. 2nd edition, Furore-Verlag, Kassel, 1988 (1981), ISBN 3-9801326-8-4 .
- ↑ Quotation after the preface to the 2nd edition (not pag.), First page.
- ↑ Rieger 1981, introduction p. 13.
- ↑ Weissweiler 1981/1999, chapter In search of a language of their own . P. 406.
- ↑ Rieger 1981/88, introduction p. 10/11.
- ^ Eva Weissweiler: female composers from 500 years. Fischer, Frankfurt / M. 1981; extended new edition of women composers from the Middle Ages to the present day. DTV Munich, 1999, ISBN 3-423-30726-9 .
- ↑ Catalog Kassel 87, Introduction to the Topic, pp. 14–16, 14.
- ↑ Instrument and Body 1991.
- ↑ See also the article Dualism by Nina Noeske in Lexikon Musik und Gender pp. 190–192, where Richard Wagner's conception of the masculine word and its ›seeds‹, expressed a generation later, is addressed, which recognizes the "female matter of music as mere substance" fertilize (it is about Wagner's treatise Opera and Drama 1852).
- ^ Indiana University Press, Bloomington & Indianapolis 1991.
- ↑ Feminist Research in American Musicology. In: Freia Hofmann / Eva Rieger (eds.): From the minstrel to the performance artist. In search of a women's musical history. P. 21.
- ↑ Weissweiler 1999: Women composers from the Middle Ages to the present. P. 12.
- ^ Weissweiler: 2nd edition women composers from the Middle Ages to the present. P. 8.
- ^ Rieger: Woman music and man rule. Section IV: The Situation Today. Pp. 210 to 261, here p. 265.
- ↑ Weissweiler 1999, p. 12.
- ↑ Weissweiler 1999, pp. 406 to 421.
- ↑ Leni Neuenschwander: The woman in music. The international competitions for women composers 1950–1989. Mannheim 1989.
- ^ Exhibition by the Bayerische Vereinsbank in cooperation with the music collection of the Bayerische Staatsbibliothek. With accompanying text booklet, Munich 1971. Curator of the exhibition and text: Robert Münster.
- ↑ Catalog Heidelberg 1987: "Männersach" by Ellen Kohlhaas, p. 114.
- ↑ DIE WELT, July 16, 1986 (catalog Heidelberg 1987 female composers yesterday - today, p. 112 and 113).
- ↑ Freia Hoffmann / Franziska Eber: List of books Woman and Music 1800–1993, Oldenburg 1995.
- ↑ Margaret D. Ericson: Woman and music. A selective annotated bibliography on women and gender issues in music. 1987-1992, New York et al. a. 1996.
- ^ Eva Rieger, ed. With the collaboration of Ruth Heckmann and Jeanne Rosenstein: Frau und Musik. Bibliography 1970 to 1996. Hildesheim, Zurich and New York 1999.
- ↑ Marion Gerards, Freia Hoffmann, ed .: Music Women Gender, list of books 1780–2004. Series of publications by the Sophie Drinker Institute, (Ed.): By Freia Hoffmann, Volume 4, BIS Verlag der Carl von Ossietzky University Oldenburg 2006, ISBN 3-8142-0966-4 .
- ↑ See preface p. 3.
- ↑ Weissweiler (1981) 1999: In search of a language of their own. Avant-garde composers and performance artists (as of 1999). P. 407 ff.
- ↑ Lilli Friedemann: collective improvisation as a study and creation of new music. CD Universaledition 20007, Vienna 1969, red row 7; Entry into new sound areas through group improvisation. CD Universal Edition 20050, Vienna 1973, red row 50.
- ↑ composers in Berlin 1987, p 377/78.
- ↑ Judith Förner: Mädchen (t) räume 2000, p. 10/11: "It seems that the topic of working with girls is not an issue for musicology and music education!"
- ↑ Andrea Oberhuber: Database Francophone Women's Chanson: Objectives, Perspectives, Problems. In: Trans Internet magazine for cultural studies. March 1998, accessed July 8, 2014.
- ↑ Weissweiler wrote this last chapter for the new edition of the first German-speaking female composer music history that she wrote. S. Weissweiler: Composers from the Middle Ages to the Present 1999, pp. 406–420.
- ↑ In the table of contents "Status: 1999", in the text "Status: 1981", this discrepancy is clarified by the text, which clearly refers to events after 1981.
- ↑ Weissweiler 1999, pp. 408-409.
- ↑ Eva Weissweiler: In search of a language of their own, female composers and performance artists of the avant-garde (status 1999). In: Women composers from the Middle Ages to the present. 1999. pp. 406-421, here pp. 408/409 and 420 (footnote 7).
- ↑ MusikTexte 44, Cologne 1992, p. 261 ff.
- ↑ Riemann 2012; Weissweiler 1999, pp. 412-414; Pendle: Women in Music 1991, pp. 233-236.
- ↑ Weissweiler 1999, p. 413.
- ↑ Weissweiler 1999, pp. 413/414.
- ↑ Riemann 2012; Pendle 1991, pp. 228-230.
- ↑ Riemann 2012; Pendle 1991, pp. 230-231, Weissweiler pp. 409-412.
- ↑ Riemann 2012.
- ↑ The names of the Ferrares singers
- ^ Anthony Newcomb: The Madrigal at Ferrara 1579–1597 1980, Volume 1.
- ↑ Danielle Roster : The Great Women Composers. Pp. 67-80.
- ↑ Schweitzer: "... is highly recommendable as a teacher", cultural history of the piano teacher. Pp. 453-454.
- ↑ According to Gustav Schilling: Encyclopedia of the Entire Musical Sciences it was about "respectable Syrian Pfeifferinnen" who earned themselves by moving around and "making their bread" ( books.google.de p. 179)
- ↑ Walther: Lexicon 1732/2001, p. 34 (without a date, but already read about it in Horace).
- ↑ See Koldau: Chapter VII Professional Musicians. Linda Maria Koldau: Women-Music-Culture . a manual on the German-speaking area of the early modern period. Böhlau Verlag, Cologne and Weimar 2005, ISBN 978-3-412-24505-4 , pp. 548-569 ( google.de [accessed July 16, 2013]).
- ^ Sabine Henze Döhring: Margravine Wilhelmine and the Bayreuth Court Music. 2009; Ruth Müller-Lindenberg: Wilhelmine von Bayreuth, the court opera as the stage of life. 2004.
- ↑ Micaela Marcard: Broken, torn, tattered. The worldview of Wilhelmine von Bayreuth. In: The time. No. 32, August 3, 1990.
- ↑ See performance booklet and Henze-Döhring: Margravine Wilhelmine and the Bayreuther Hofmusik. P. 69 ff.
- ↑ On the Electress of Saxony, see Christine Fischer: Instrumentierte Visionenionenlicher Macht. Maria Antonia Walpurgis' works as a stage for political self-presentation . Bärenreiter Kassel etc. 2007 (Swiss Contributions to Music Research Volume 7). ISBN 978-3-7618-1829-9 .
- ↑ Koldau 2008, Chapter 6.2, pp. 523-547. From p. 531 catalog with short biographies of German music printers, alphabetically by place. Under note 69 Italian and German literature on female printers.
- ↑ See the title pages of compositions by Anna Bon di Venezias .
- ↑ Lexicon Music and Gender 2010, pp. 93, 482–483.
- ↑ Cultural history of the piano teacher, this is the subtitle of Claudia Schweitzer's dissertation, published in 2008, "... is highly recommended as a teacher".
- ↑ Schweitzer: piano teacher. Pp. 174-181 and 461-462.
- ↑ S. Schweitzer 2008, p. 470/71; Lexicon Music and Gender, p. 447/48.
- ↑ Richard Jakoby (Ed.): Music studies in Germany. Music, music education, musicology . Schott, Mainz, 15th edition 2006.
- ↑ Music School Congress, April 26-28, 2013. Fascination music school! Concert and congress hall Bamberg.
- ↑ Music with the handicapped at music schools. Basics and work aids, reports from practice, information and addresses. 2nd extended edition, (Ed.): From the Association of Bavarian Sing and Music Schools e. V. in cooperation with the specialist committee "Disabled people at music schools" of the Association of German Music Schools e. V., Verlag Peter Athmann Nürnberg 2002, ISBN 3-9807288-3-8 , p. 3.
- ↑ Music in the past and present 1949 ff. (First edition).
- ↑ Eva Weissweiler: Eliminated! 1999, p. 59.
- ↑ Maddalena Casulana Mezari: Foreword to Primo Libro de madrigali a quattro voci. Venice 1568. Quoted from Marc-Joachim Wassmer. In: Approach VIII - to seven women composers. (Ed.): Clara Mayer, Furore-Edition 890, p. 84, fn. 16.
- ↑ Quoted from Marc-Joachim Wassmer. In: Approach VIII - to seven women composers. Edited by Clara Mayer, Furore-Edition 890, p. 84, fn. 16.
- ^ Letter from Wilhelmine of January 1753 (Volz II).
- ↑ Otto Veh: Margravine Wilhelmine von Bayreuth in the judgment of the world and posterity. Fürth i. B. 1959, p. 9 f.
- ^ Breitkopf & Härtel, Leipzig 1889.
- ↑ Rieger 1981, p. 13.
- ↑ On "Gender Theories" see: Sabine Doyé , Marion Heinz , Friederike Kuster (Eds.): Philosophical Gender Theories . Philipp Reclam jun. Stuttgart, 2002.
- ↑ iawm.org International Alliance for Women in Music (IAWM)
- ↑ Carsten Bock in: Rebecca Grotjahn , Freia Hoffmann (Ed.): Gender polarities in the history of music from the 18th to the 20th century. Centaurus Verlag, Herbolzheim 2002. Contributions to the cultural and social history of music, Volume 3, Eva Rieger (Ed.), ISBN 3-8255-0330-5 , pp. 243-253. A Goldfish Bowl London 1972, p. 9. (p. 70): “You are not Mozart”, “There has never been a great woman composer”. (Quoted from gender polarities 2002, p. 253)
- ↑ Quoted from Claudia Schweitzer: Gloria Coates in: Approach VIII 2003, 51–71, 51 fn. 1.
- ↑ Violeta Dinescu on mugi.hfmt-hamburg.de
- ↑ Weissweiler 1999, p. 419 (after Emigholz).
- ↑ Reclam's Piano Music Guide Volume II, p. 524.
- ↑ Weissweiler 1999, p. 400.
- ↑ Weissweiler 1999, p. 8 (Doris Hays).
- ↑ ( Page no longer available , search in web archives: Award winners 2014 )
- ^ Female composers in Berlin 1987, p. 376.
- ^ From: Ruth-Maria Fischer: Interview with Ruth Schonthal . In: Female composers in Berlin, 1987, pp. 377/78.
- ↑ A conversation between Patricia Jünger and Laura Weidacher. In: Female composers in Berlin, 1987, pp. 273 and 276.
- ^ Friedemann Beyer: The UFA stars in the Third Reich women for Germany. Wilhelm Heyne Verlag, Munich 1991, ISBN 3-453-03013-3 , pp. 30 and 31.
- ↑ Rena Jacob: Women in the Nazi Era: The "apolitical" UFA stars. ( Memento from December 4, 2013 in the Internet Archive ) In: Sunday News. October 10, 2012, accessed September 22, 2019.
- ↑ The audience was my big family on Süddeutsche.de. Retrieved March 7, 2013.
- ↑ Actress Ilse Werner died on Frankfurter Allgemeine Feuilleton. Retrieved March 7, 2013.
- ↑ On Mahalia Jackson see: Karin Pendle (Ed.): Woman and Music. A History, 1984/1991.
- ↑ See Big Beat .
- ^ Judith Förner 2000: Musical girls (t) dreams. The Importance of Female Adolescence in Educating Musical Productivity.
- ↑ See list of artists with the most sold records worldwide .
- ↑ Rihanna is the greatest - the most successful pop stars of the last 20 years have been selected ( memento from November 5, 2013 in the Internet Archive ) on stern.de, October 8, 2012, accessed on July 5, 2014.
- ^ Female conductors in the 20th century. Portraits from Marin Alsop to Simone Young. European Publishing House, Hamburg 2003, ISBN 3-434-50536-9 .
- ↑ Appendix Die Zeit. No. 3, January 1976 (see Mascha Blankenburg: Conductors p. 10).
- ↑ The Berlin Philharmonic Orchestra is tightly strung. Retrieved July 26, 2014.
- ↑ See newspaper report from New York Women in Music .
- ↑ For example in the training centers of the Roman basilicas, the Neapolitan conservatories, the Schola of St. Stephen's Cathedral in Vienna, the Regensburger Domspatzen.
- ↑ Koldau, p. 517.
- ↑ Hoffmann: Junker 1783 and Eschstruth 1784: Two theorists about the propriety of women’s instruments. In: Instrument and Body 1991, pp. 25 to 38.
- ↑ See also: The viol.
- ↑ A (short) praise poem in his Fortgepflanzten Musikalisch-Poetisch Lustwald, Jena 1651, 3 volume, quoted in Koldau p. 517: III. Volume, p. 35 f.
- ↑ See Walther Lexicon and travel report of Councilor Nemeitz.
- ^ Woyke, foreword.
- ↑ Woyke: Faustina.
- ↑ Wasmer, Furore.
- ^ S. Wasmer: Lombardini and Joseph Haydn's string quartets op.9.
- ^ Eva Rieger: Woman music and man rule. P. 217.
- ↑ stadtpfeifer.com
- ↑ Hoffmann 1991: Instrument and Body. The woman making music in bourgeois culture.
- ↑ Hoffmann 1991, especially p. 35.
- ^ Eva Rieger: Nannerl.
- ↑ See as an example Anna Maria dal Violin .
- ↑ Hoffmann 1991.
- ^ Hoffmann 1991: Musical instrument and body. P. 79 ff.
- ↑ Yuko Tamagawa: The girl at the piano. History of the origins of a cliché in Japan . In: Gender polarities. Pp. 209-219.
- ↑ Tamagawa pp. 211 to 213, pp. 216/217.
- ↑ See the concert program of the Steingraeber piano manufacturer in Bayreuth.
- ↑ See Lorenzo Bianconi's booklet text on the CD of the Harmonia mundi label. Compare Danielle Roster, p. 44. Main literature: Anthony Newcomb Volume I, which gives biographical details of all singers and composers involved in the Ferrareser Hof and lists the notable guests of the concerts.
- ^ Newcomb Volume I: Dictionary of Musicians who visited the Court of Ferrara (1579–1597). Pp. 191-211 (= Appendix II).
- ↑ Emerson, Chapter 4, pp. 43-48.
- ↑ Medi Gasteiner: Divas: From Callas to Netrebko - Famous voices from yesterday and today. Lecture for Rotary Club Wiesbaden-Rheingau, December 6, 2010, accessed on September 22, 2019 ( PDF: 2 MB, 17 pages at wiesbaden-rheingau.rotary1820.de ( Memento from July 14, 2014 in the Internet Archive )).
- ↑ Record red series 7 and 50 of the Universal Edition and educational writings.
- ↑ Lilli Friedmann on mugi.hfmt-hamburg.de
- ↑ impro-ring.de
- ↑ YouTube video
- ^ Eva Weissweiler 1999, foreword.
- ↑ Reinhard Flender (ed.): Free ensembles for new music in Germany. A study by the Institute for Cultural Innovation Research at the Hamburg University of Music and Theater. Schott Mainz etc. 2007, ISBN 978-3-7957-0158-1 .
- ↑ See CD and booklet Dreiklang Anna Katharina.
- ↑ Anna Katharina Kränzlein: About me.
- ↑ Interview with Tarja Turunen on tip-berlin.de.
- ↑ Interview on Youtube
- ↑ Riemann MusikLexikon. 13th updated new edition, Schott Musik, Mainz 2012, Volume 3. ISBN 978-3-7957-0006-5 .
- ↑ Weissweiler 1999, p. 24.
- ↑ Weissweiler 1999, p. 25.
- ↑ Weissweiler 1999, p. 23/24 (picture).
- ↑ Weissweiler 1999, pp. 28/29.
- ↑ See Eva Weissweiler: Musically creative women from antiquity to the Middle Ages. An overview of cultural history. In: Women composers from the Middle Ages to the present. Bärenreiter / DTV, Munich 1999, ISBN 3-423-30726-9 (first edition: female composers from 500 years 1981), pp. 23–57, here pp. 26–28 and footnote 12, p. 55.
- ↑ Weissweiler 1999, p. 35.
- ↑ See translations of Horace ( satires ) from Latin by CM Wieland, Volume 2, online.
- ↑ Weissweiler 1999, p. 35.
- ↑ Weissweiler 1999, pp. 36-38
- ↑ on YouTube
- ↑ The only musicological work on them so far (as of 1999) comes from HW Tyllyard, Byzantinische Zeitschrift No. 20. (According to Weissweiler 1999, p. 39 f.)
- ↑ Marianne Richert / Stefan J. Morent: Hildegard von Bingen, The sound of heaven. Böhlau Verlag Cologne etc. 2005, with CD, ISBN 3-412-11504-5 .
- ^ A b Peter Brixius: Hildegard von Bingen (1098–1179). ( Memento from April 28, 2015 in the Internet Archive ) In: drmk.ch. Undated [2004?], Accessed September 22, 2019.
- ↑ Barbara Stühlmeyer : The songs of Hildegard von Bingen . Georg Olms, 2003, ISBN 3-487-11845-9 , 4.1.5, pp. 83.2 .
- ^ Johann Gottfried Walther : Musicalisches Lexicon or Musicalische Bibliothec. Leipzig 1732, Neusatz Bärenreiter, Kassel 2001.
- ↑ The Music in Past and Present 1, Volume 9, 1961, Columns 261–262, Article Mezari; see on the other hand the articles in The Norton Grove [also The New Grove […] ] Dictionary of Women Composers pp. 109–111; Lexicon of Music and Gender. Pp. 166-167; Pendle 1, 1991, pp. 47-49.
- ↑ hsozkult.geschichte.hu-berlin.de
- ^ Giulio Caccini: Nuove musiche. Florence 1602.
- ^ Johann Walter Hill: Article Caccini, Francesca in MGG 2; Eva Weissweiler: Francesca Caccini in: Composers 1999, p. 84.
- ↑ Francesca Caccini: Il Primo libro delle Musiche a una e due voci. Florence, 1618. See Hill: Article Caccini, Francesca in MGG 2.
- ↑ Weissweiler 1999, p. 80; Danielle Roster: Francesca Caccini. "Before I give up the desire to study, I tend to lose my life ..." . In: Approach IX to seven female composers , Furore Verlag, Kassel 1998, ISBN 3-927327-43-3 .
- ↑ Danielle Roster: The great female composers Insel TB 2116, Frankfurt / M. etc. 1998, pp. 50–65, therein the plot of the opera (audio information p. 410) and a list of Caccini's music editions are reproduced, p. 421.
- ↑ It is based on chants 6 to 10 by Ludovico Ariostos Orlando furioso . Description by Corinna Herr in the article Caccini, Francesca. In: Lexicon Music and Gender, pp. 162–163.
- ↑ Weissweiler: Female composers 1999. P. 92/93.
- ^ Karl Wilhelm Geck in: Article Sophie Elisabeth, Duchess of Braunschweig and Lüneburg. MGG 2.
- ^ Duchess Sophia Elisabeth of Braunschweig-Lüneburg on heinrich-schuetz-haus.de
- ↑ Herzog August Library Wolfenbüttel . Duke August Library Wolfenbüttel
- ↑ Heinrich Schütz: Collected letters and writings. Erich Hermann Müller (Ed.), Olms Verlag Hildesheim and New York, 1976, p. 275.
- ↑ Geck clearly marginalizes her student / teacher relationship with Schütz, see his article Sophie Elisabeth von Braunschweig Lüneburg in MGG 2.
- ^ HJ Mooser: Heinrich Schütz. P. 156/157.
- ↑ See Geck, article Sophie Elisabeth in MGG 2.
- ↑ Irene Hegen: Wilhelmine von Bayreuth. A cold shiver falls over me. In: Approach IX - to seven female composers 1998; Ruth Müller-Lindenberg: Wilhelmine of Bayreuth. The court opera as the stage of life . Böhlau Verlag Cologne / Weimar / Vienna 2004, ISBN 978-3-412-11604-0 .
- ↑ Approaches VII 1996, pp. 23–40.
- ↑ Approaching VIII Furore Verlag 2003, pp. 28–50.
- ↑ During his reign 1769–1772.
- ↑ Hegen 2003, pp. 37/38.
- ↑ Candida Felici 2004: Maria Rosa Coccia, Maestra Compositoria Romana. Editore Colombo, Fondazione Adkins Chiti: Donne in Musica. Rome 2004, ISBN 88-86359-54-3 . Sheet music from Furore-Verlag.
- ↑ Luise F. Pusch : Sisters of famous men. Twelve biographical portraits. Insel Verlag Frankfurt a. M. 1985, ISBN 3-458-32496-8 .
- ↑ Renate Hellwig-Unruh: Fanny Hensel born. Mendelssohn Bartholdy. Thematic index of the compositions. GM 1016, Edition Kunzelmann, Adliswil 2000, ISBN 3-9521049-3-0 , p. 10.
- ↑ The three main catalogs of works include: The compositions of Fanny Hensel in autographs and copies from the property of the Berlin State Library - Prussian Cultural Heritage. Catalog edited by Hans Günther Klein, published by Hans Schneider, Tutzing 1995 (music biographical works, edited by Rudolf Elvers, Volume 13), ISBN 3-7952-0820-3 . Thematic index of Fanny Hensel's solo songs with piano accompaniment. Furore Verlag Kassel 1997, ISBN 3-927327-40-9 and 2000 the mentioned thematic directory of the compositions by Renate Hellwig-Unruh.
- ^ Paul Heyse: Memories of youth and confessions. In: Collected Works. third row, volume 1, JG: Cottasche bookstore successor Verlag Hermann Klemm AG, Stuttgart, Berlin-Grunewald 1924, p. 41 f.
- ↑ See female composers in Berlin. (Eds.): By B. Brand, M. Helmig, B. Kaiser, B. Salomon and A. Westerkamp in cooperation with the Senator for Cultural Affairs of the Berlin University of the Arts, the Sender Free Berlin and the Berlin artist program of the DAAD, Berlin 1987, article Fanny Hensel, pp. 35 to 72, here p. 43.
- ↑ First major article about her by Martina Sichardt (catalog raisonné by Karola Weil): On the trail of a forgotten composer: Emilie Mayer (1821–1883) in: B. Brand, M. Helmig, B. Kaiser B. Salomon and A. Westerkamp (Ed.): Female composers in Berlin (Musikfrauen e.V. Berlin), Berlin 1987, pp. 150–178.
- ↑ From a concert review after the performance of her B minor symphony, in: neue Berliner Musikzeitung 32, 1878, quoted from Runge Woll The composer Emilie Mayer, p. 1.
- ↑ ( page no longer available , search in web archives: festspiele-mv.de )
- ^ Claudia Breitfeld: Approaches to symphonies by female composers of the 19th century. In: Rebecca Grotjahn, Freia Hoffmann: Gender polarities. Pp. 117–127, here quoted from: pp. 117–119, with a list of other female symphony composers.
- ^ Almut Runge Woll: The composer Emilie Mayer (1812 to 1883), studies on life and work. European University Theses, Series XXXVI, Volume 234, Peter Lang Frankfurt a. M. etc., 2003, ISBN 3-631-51220-1 .
- ↑ Rieger 1988, pp. 174–190, here p. 175.
- ↑ Lexicon Music and Gender 2010, p. 463.
- ↑ Women with wings. Life reports of famous female pianists , 1996, pp. 33–96.
- ↑ Weissweiler 1999, pp. 263-280, here p. 263.
- ↑ Lexicon Music and Gender , 2010, p. 169.
- ↑ Alma Mahler-Werfel (1960): My life. Fischer-Verlag, 3rd edition 1990, ISBN 3-10-347800-3 .
- ↑ Mahler-Werfel: Mein Leben (1960), pp. 33/34.
- ^ Insel Taschenbuch 2116, Frankfurt a. M. 1998, ISBN 3-458-33816-0 , p. 287.
- ↑ Mugi mugi.hfmt-hamburg.de Contains a detailed catalog of works.
- ↑ About them see Danielle Roster: The great women composers.
- ^ Weissweiler: Female Composers, 1999.
- ↑ Nina Polaschegg in the informative article about the composer in: Lexikon Musik und Gender , 2010.
- ↑ a b c d Kerstin Anja Thieme at MUGI on the Internet .
- ↑ a b Thieme, Karl (Kerstin), Life and Work.
- ^ The death against criticism of the world premiere by Jens Voskamp in: Nürnberger Nachrichten of April 14, 1998
- ↑ Riemann Musik Lexikon 2012, Volume 1.
- ↑ Young people make music. Selection of literature for instrumental interplay [Deutscher Musikrat] VII / 1978, p. 81.
- ↑ Riemann Musik Lexikon 2012, Volume 4, p. 473.
- ↑ C: List of "persecuted women composing 1933–1945" . In: Claudia Friedel: Women composing in the Third Reich. Materials Appendix M 8.
- ↑ For works see: Riemann Musik Lexikon 2012, Volume 4, p. 473.
- ↑ In: Annette Kreutzinger-Herr and Melanie Unseld (eds.): Lexicon Music and Gender. P. 460.
- ^ Ulrich Alberts: Jana Obrovska (1930-1987). In: Guitar & Laute 9, 1987, 3, p. 57
- ^ Elisabeth Schmierer: Composer portraits . Reclam Stuttgart, 2003, 2010, ISBN 978-3-15-018765-4 .
- ↑ Aaron I. Cohen: International Encyclopedia of Women Composers 1981. The second, expanded edition of which: (2 volumes in total :) New York, Books and Music, 1987, ISBN 0-9617485-2-4 .
- ↑ International Discography of Women Composers. Westport, CT: Greenwood Press, 1984, ISBN 0-313-24272-0 .
