DOCSLIB.ORG

Women As Classically-Trained Trumpet Players in the United States

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Women As Classically-Trained Trumpet Players in the United States Graduate Theses, Dissertations, and Problem Reports 2009 Women as classically-trained trumpet players in the United States Robyn Dewey Card West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Card, Robyn Dewey, "Women as classically-trained trumpet players in the United States" (2009). Graduate Theses, Dissertations, and Problem Reports. 2891. https://researchrepository.wvu.edu/etd/2891 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Women as Classically-Trained Trumpet Players in the United States by Robyn Dewey Card Research Project submitted to the College of Creative Arts Division of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trumpet Performance Approved by: Dr. John Winkler, Committee Chairperson Dr. Martin Ferer Dr. Keith Jackson Dr. Virginia Thompson, Research Advisor Dr. Christopher Wilkinson Morgantown, West Virginia 2009 Keywords: Women and Music, Trumpet, Cornet, Orchestra, Band Copyright 2009 Robyn Dewey Card ii Abstract Women as Classically-Trained Trumpet Players in the United States by Robyn Dewey Card This study identifies women in the United States who were trained in the classical tradition and chose to perform trumpet professionally as their full-time career choice during the period of the mid-nineteenth century to the late twentieth century. Although many classically- trained female trumpet players have developed successful professional careers in the genres of jazz and commercial music, specific focus for this study is on classical solo and chamber artists, members of full-time professional symphony orchestras, and members of professional bands. It examines the performance opportunities that were available to female trumpeters, the music they performed, and whether or not they encountered particular challenges arising from their attempts to succeed professionally in a discipline mostly dominated by men. Chapter Two (Brass Bands and the Golden Age of Cornet) discusses the opportunities created by the professional band movement, which allowed women to perform as section players and also as featured cornet soloists. Chapter Three (Women’s Ensembles and the Transition from Cornet to Trumpet) focuses on the development of the orchestra and the initiative taken by women in creating their own ensembles. Chapter Four (New Opportunities Resulting from World War II) examines the performance opportunities for women created by men leaving their positions to serve in the armed forces. Chapter Five (Women in Major Symphony Orchestras) examines the initial acceptance of female trumpeters into the major professional symphonies. Appendix A is a list of women who obtained positions in symphony orchestras, and Appendix C provides transcripts of interviews with select orchestral and solo performers: Barbara Butler, Joyce Johnson-Hamilton, Susan Slaughter, and Marie Speziale. iii Acknowledgements There were quite a few people that contributed to this research project. I would especially like to thank Barbara Butler, Joyce Johnson-Hamilton, Susan Slaughter, and Marie Speziale for not only taking the time to share their experiences and allowing me to include them as part of the document, but for paving the way and providing encouragement to me, and others like me. Eloise Jenkins provided an excellent model in her document on horn players, and also shared her collection of orchestral rosters with me. Norman Schweikert spent time confirming details regarding female orchestral players. Dr. Jill Sullivan shared some of her research regarding the all-women military bands, and Paul Trescott was helpful in providing information on the female cornetists, and allowed me to use some of the pictures from the collection of his uncle, Glenn Bridges. Special thanks goes to Dr. Virginia Thompson who served as my research advisor. Her continuous encouragement and support allowed me to see this project through to completion. Thank you to the members of my committee: Dr. John Winkler, Dr. Martin Ferer, Dr. Keith Jackson, and Dr. Christopher Wilkinson. My family and friends were an invaluable part of this process, providing constant encouragement. iv Dedication To my family and friends. I am extremely blessed. v Table of Contents Abstract.................................................................................................................................... ii Acknowledgements ................................................................................................................. iii Dedication.................................................................................................................................iv Table of Contents......................................................................................................................v List of Figures .........................................................................................................................vii List of Tables......................................................................................................................... viii Chapter 1 – Introduction..........................................................................................................1 Chapter 2 – Brass Bands and the Golden Age of Cornet ........................................................5 The Family Bands...................................................................................................................5 Anna Teresa Berger.............................................................................................................6 Georgie Dean Spaulding......................................................................................................9 The Women’s Bands...............................................................................................................9 The Cornet Soloists...............................................................................................................14 Alice Raymond .................................................................................................................14 Bessie Gilbert....................................................................................................................16 Mabel Keith ......................................................................................................................17 Marie McNeil....................................................................................................................18 Florence Louise Horne ......................................................................................................20 Browne Greaton ................................................................................................................21 The Minstrel Performers .......................................................................................................22 Chapter 3 – Women’s Ensembles and the Transition from Cornet to Trumpet..................24 Women’s Orchestras .............................................................................................................24 The Soloists ..........................................................................................................................32 Edna White .......................................................................................................................32 Katherine “Kitty” Rankin ..................................................................................................39 Grace Adams East.............................................................................................................42 Chapter 4 – New Opportunities Resulting from World War II............................................45 Leona May Smith..............................................................................................................48 The All-Women Military Bands............................................................................................51 Chapter 5 – Women in Major Orchestras .............................................................................56 Carole Dawn Reinhart.......................................................................................................59 Joyce Johnson-Hamilton ...................................................................................................63 Marie Speziale ..................................................................................................................66 Susan Slaughter.................................................................................................................68 Barbara Butler...................................................................................................................72 Chapter 6 – Summary, Conclusions, and Recommendations
Load more

Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Frederick P. Williams Papers PA Mss 72
    http://oac.cdlib.org/findaid/ark:/13030/kt838nf5wg No online items Guide to the Frederick P. Williams papers PA Mss 72 Finding aid prepared by Pearl Ko, 2011; encoded by Zachary Liebhaber, 2011. UC Santa Barbara Library, Department of Special Collections University of California, Santa Barbara Santa Barbara, California, 93106-9010 Phone: (805) 893-3062 Email: [email protected]; URL: http://www.library.ucsb.edu/special-collections 2011 Guide to the Frederick P. Williams PA Mss 72 1 papers PA Mss 72 Title: Frederick P. Williams papers Identifier/Call Number: PA Mss 72 Contributing Institution: UC Santa Barbara Library, Department of Special Collections Language of Material: English Physical Description: 39.17 linear feet(30 cartons, 10 oversize boxes, 1 small shoebox) Date (inclusive): 1800-2009 Date (bulk): 1900-2000 Abstract: Research files on concert, military, and ethnic bands collected by Frederick P. Williams. Physical Location: Special Research Collections, UC Santa Barbara Library Creator: Williams, Frederick P. Access Restrictions The collection is open for research. Use Restrictions Copyright has not been assigned to the Department of Special Collections, UCSB. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Department of Special Collections as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which also must be obtained. Preferred Citation [identification of item], Frederick P. Williams papers, PA Mss 72. Department of Special Collections, University Libraries, University of California, Santa Barbara.
    [Show full text]
  • Get Doc < Central Avenue Sounds Jazz in Los Angeles
    WQRFRKMSWIFF \\ Kindle / Central Avenue Sounds Jazz in Los Angeles Central A venue Sounds Jazz in Los A ngeles Filesize: 2.71 MB Reviews This book is indeed gripping and fascinating. It normally is not going to price a lot of. I am very easily will get a delight of reading a created pdf. (Albertha Cartwright) DISCLAIMER | DMCA PCXD3CDUHUFZ « Kindle // Central Avenue Sounds Jazz in Los Angeles CENTRAL AVENUE SOUNDS JAZZ IN LOS ANGELES University of California Press. Paperback. Book Condition: New. Paperback. 470 pages. Dimensions: 8.9in. x 5.8in. x 1.2in.The musical and social history of Los Angeless black community from the 1920s through the early 1950s comes to life in this exceptional oral history collection. Through the voices of musicians who performed on L. A. s Central Avenue during those years, a vivid picture of the Avenues place in American musical history emerges. By day, Central Avenue was the economic and social center for black Angelenos. By night, it was a magnet for Southern Californians, black and white, who wanted to hear the very latest in jazz. The oral histories in this book provide firsthand reminiscences by and about some of our great jazz legends: Art Farmer recalls the first time Charlie Parker and Dizzy Gillespie played bebop on the West Coast; Britt Woodman tells of a teenaged Charles Mingus switching from cello to bass; Clora Bryant recalls hard times on the road with Billie Holiday. Here, too, are recollections of Hollywoods eects on local culture, the precedent-setting merger of the black and white musicians unions, and the repercussions from the racism in the Los Angeles Police Department in the late 1940s and early 1950s.
    [Show full text]
  • MIAMI UNIVERSITY the Graduate School
    MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Bridget Christine Gelms Candidate for the Degree Doctor of Philosophy ______________________________________ Dr. Jason Palmeri, Director ______________________________________ Dr. Tim Lockridge, Reader ______________________________________ Dr. Michele Simmons, Reader ______________________________________ Dr. Lisa Weems, Graduate School Representative ABSTRACT VOLATILE VISIBILITY: THE EFFECTS OF ONLINE HARASSMENT ON FEMINIST CIRCULATION AND PUBLIC DISCOURSE by Bridget C. Gelms As our digital environments—in their inhabitants, communities, and cultures—have evolved, harassment, unfortunately, has become the status quo on the internet (Duggan, 2014 & 2017; Jane, 2014b). Harassment is an issue that disproportionately affects women, particularly women of color (Citron, 2014; Mantilla, 2015), LGBTQIA+ women (Herring et al., 2002; Warzel, 2016), and women who engage in social justice, civil rights, and feminist discourses (Cole, 2015; Davies, 2015; Jane, 2014a). Whitney Phillips (2015) notes that it’s politically significant to pay attention to issues of online harassment because this kind of invective calls “attention to dominant cultural mores” (p. 7). Keeping our finger on the pulse of such attitudes is imperative to understand who is excluded from digital publics and how these exclusions perpetuate racism and sexism to “preserve the internet as a space free of politics and thus free of challenge to white masculine heterosexual hegemony” (Higgin, 2013, n.p.). While rhetoric and writing as a field has a long history of examining myriad exclusionary practices that occur in public discourses, we still have much work to do in understanding how online harassment, particularly that which is gendered, manifests in digital publics and to what rhetorical effect.
    [Show full text]
  • A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
    MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones.
    [Show full text]
  • A New Species of Instrument: the Vented Trumpet in Context
    1 A NEW SPECIES OF INSTRUMENT: THE VENTED TRUMPET IN CONTEXT Robert Barclay Introduction The natural trumpet is the one instrument not yet fully revived for use in the performance of Baroque music. A handful of recordings are available and very rarely a concert featuring solo performances on the instrument is given, but to a great extent the idiosyncrasies of the natural harmonic series are still considered to be beyond reliability in the recording studio or in live performance. Most current players have taken to using machine-made instruments with as many as four fi nger-holes placed in their tubing near to pressure nodes, so that the so-called “out-of-tune harmonics” of the natural series (principally f’/f#’, and a” ) will not be unpleasant to modern sensitivity. The vented instruments that have resulted from this recent “invention of tradition” are often equipped with so many anachronistic features that the result is a trumpet which resembles its Baroque counterpart only superfi cially, whose playing technique is quite different, and whose timbre is far removed from that expected for Baroque music. Among publications that deal with the compromises made to natural instruments in modern practice, those of Tim Collins, Richard Seraphinoff, and Crispian Steele-Perkins deserve especial mention. Collins provides an excellent summary of the characteristics of the natural trumpet, and an analysis of the current state of playing of the instrument.1 Seraphinoff concentrates on the early horn, and discusses the pros and cons of the use of vent holes in so-called historical performances.2 Steele-Perkins summarizes the develop- ment of the modern Baroque trumpet and provides practical advice on the selection of instruments3 All three authors highlight the tension that has arisen within the fi eld of early brass performance.
    [Show full text]
  • The Italian Double Concerto: a Study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy
    The Italian Double Concerto: A study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy a document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Performance Studies Division – The University of Cincinnati College-Conservatory of Music 2013 by Jason A. Orsen M.M., Kent State University, 2003 B.M., S.U.N.Y Fredonia, 2001 Committee Chair: Dr. Vivian Montgomery Prof. Alan Siebert Dr. Mark Ostoich © 2013 Jason A. Orsen All Rights Reserved 2 Table of Contents Chapter I. Introduction: The Italian Double Concerto………………………………………5 II. The Basilica of San Petronio……………………………………………………11 III. Maestri di Cappella at San Petronio…………………………………………….18 IV. Composers and musicians at San Petronio……………………………………...29 V. Italian Double Concerto…………………………………………………………34 VI. Performance practice issues……………………………………………………..37 Bibliography……………………………………………………………………………………..48 3 Outline I. Introduction: The Italian Double Concerto A. Background of Bologna, Italy B. Italian Baroque II. The Basilica of San Petronio A. Background information on the church B. Explanation of physical dimensions, interior and effect it had on a composer’s style III. Maestri di Cappella at San Petronio A. Maurizio Cazzati B. Giovanni Paolo Colonna C. Giacomo Antonio Perti IV. Composers and musicians at San Petronio A. Giuseppe Torelli B. Petronio Franceschini C. Francesco Onofrio Manfredini V. Italian Double Concerto A. Description of style and use B. Harmonic and compositional tendencies C. Compare and contrast with other double concerti D. Progression and development VI. Performance practice issues A. Ornamentation B. Orchestration 4 I.
    [Show full text]
  • The Sackbut and Pre-Reformation English Church Music
    146 HISTORIC BRASS SOCIETY JOURNAL THE SACKBUT AND PRE-REFORMATION ENGLISH CHURCH MUSIC Trevor Herbert n the mid-1530s the household account books of the Royal Court in London showed that as many as twelve trombone players were in receipt of regular fees. If these accounts /signify all expenditure on Court music at that time, it can be estimated that an eighth of the wages bill for this part of its activities went to trombone players. The 1530s were something of a high point in this respect, but it remains the case that for the whole of the 16th century a corps of trombonists were, in effect, salaried members of the royal musical establishment.1 Yet, not a single piece of English music from this period is explicitly linked to the trombone. This in itselfis not significant, as the labelling of parts at this time was rare,2 but the illustration draws historians of brass instruments to a neat focus. Throughout the 16th century trombonists occupied a regular and important place in English musical life. The players were professionals, probably fine and distinguished performers: What did they play and when did they play it? In this article I address some issues concerning the deployment of trombones in the first half of the 16th century. It is worth stressing that musical practice in England in the 16th century was sufficiently different from the rest of Europe to merit special attention. As I explain below, the accession of Henry VII marks what many historians recognize as a watershed in British history. The death of his son Henry VIII in 1547 marks another.
    [Show full text]
  • A Caravan of Culture: Visitors to Emporia, Kansas by Charles E
    A Caravan of Culture: Visitors to Emporia, Kansas by Charles E. Webb INTRODUCTION hat do Ulysses S. Grant, "Buffalo Bill" Cody, Susan B. Anthony, Will Rogers, Ethel Barrymore, and Dr. \Verner Von Braun haye in common"? They were W among the hundreds of famous people that have visited EmpOria, Kansas during the past one hundred years. In­ dividuals and groups of national and international fame, represen­ ting the arts, seiencl's. education, politics, and entertainment, have pa~sed before Emporia audiences in a century long parade. Since 1879, this formidable array of personalities has provided informa­ tion and entertainment to Emporia citizens at an average rate of once eaeh fifteen days, The occasional appearanee of a famous personality in a small city may well be considered a matter of historical coineidence. When, however, such visits are numbered in the hundreds, arc fre­ quent, and persist for a century, it appears reasonable to rank the phenomenon as an important part of that eity's cultural heritage. Emporia, although located in the interior plains, never ae­ cepted the role of being an isolated community. It seems that the (own's pioneers eonsidered themselves not on the frontier fringi'" of America, but strategically situated near its heart. From the town's beginning, its inhabitants indicated an intention of being informed and participating members of the national and world communities. To better understand why Emporia was able to attract so many distinguished guests, a brief examination of its early development is required. In the formative years of the city's history wc may identify some of the events, attitudes, and preparations Ihat literally set the stage for a procession of renowned visitors.
    [Show full text]
  • Publicacion7135.Pdf
    BIBLIOTECA PÚBLICA DE ALICANTE BIOGRAFÍA Roy Haynes nació el 13 de marzo de 1925 en Boston, Massachusetts. A finales de los años cuarenta y principios de los cincuenta, Roy Haynes tuvo la clase de aprendizaje que constituiría el sueño de cualquier músico actual: sentarse en el puesto de baterista y acompañar al gran Charlie Parker. Ahora, cincuenta años después, y tras haber tocado con todos los grandes del jazz: Thelonius Monk, Miles Davis, o Bud Powell, todavía coloca sus grabaciones en la cima de las listas de las revistas especializadas en jazz. Este veterano baterista, comenzó su andadura profesional en las bigbands de Frankie Newton y Louis Russell (1945-1947) y el siguiente paso fue tocar entre 1947 y 1949 con el maestro el saxo tenor, Lester Young. Entre 1949 y 1952, formo parte del quinteto de Charlie Parker y desde ese privilegiado taburete vio pasar a las grandes figuras del bebop y aprender de ellas. Acompañó a la cantante Sarah Vaughan, por los circuitos del jazz en los Estados Unidos entre 1953 y 1958 y cuando finalizó su trabajo grabo con Thelonious Monk, George Shearing y Lennie Tristano entre otros y ocasionalmente sustituía a Elvin Jones en el cuarteto de John Coltrane. Participó en la dirección de la Banda Sonora Original de la película "Bird" dirigida por Clint Eastwood en 1988 y todavía hoy en activo, Roy Haynes, es una autentica bomba dentro de un escenario como pudimos personalmente comprobar en uno de sus últimos conciertos celebrados en España y mas concretamente en Sevilla en el año 2000. En 1994, Roy Haynes recibió el premio Danish Jazzpar, que se concede en Dinamarca.
    [Show full text]
  • Anna Moscowitz Kross and the Home Term Part: a Second Look at the Nation’S First Criminal Domestic Violence Court
    The University of Akron IdeaExchange@UAkron Akron Law Review Akron Law Journals June 2015 Anna Moscowitz Kross and The omeH Term Part: A Second Look at the Nation's First Criminal Domestic Violence Court Mae C. Quinn Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/akronlawreview Part of the Family Law Commons, and the Law and Gender Commons Recommended Citation Quinn, Mae C. (2008) "Anna Moscowitz Kross and The omeH Term Part: A Second Look at the Nation's First Criminal Domestic Violence Court," Akron Law Review: Vol. 41 : Iss. 3 , Article 3. Available at: http://ideaexchange.uakron.edu/akronlawreview/vol41/iss3/3 This Article is brought to you for free and open access by Akron Law Journals at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Akron Law Review by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Quinn: A Second Look at the Nation's First Domestic Violence Court QUINN_FINAL 3/23/2009 3:03 PM ANNA MOSCOWITZ KROSS AND THE HOME TERM PART: A SECOND LOOK AT THE NATION’S FIRST CRIMINAL DOMESTIC VIOLENCE COURT Mae C. Quinn∗ I. Introduction ....................................................................... 733 II. Kross’s Early Women’s Rights Work ............................... 737 III. Kross’s Court Reform and Judicial Innovation Efforts ..... 739 IV. Kross’s Home Term Part: The Nation’s First Criminal Domestic Violence Court .................................................
    [Show full text]
  • Ortad. Y Indice
    a c i s ú m e d s a r o d a e r c creado ras de úsic a www.migualdad.es/mujer creadoras de úsic a © Instituto de la Mujer (Ministerio de Igualdad) Edita: Instituto de la Mujer (Ministerio de Igualdad) Condesa de Venadito, 34 28027 Madrid www.inmujer.migualdad.es/mujer e-mail: [email protected] Idea original de cubierta: María José Fernández Riestra Diseño cubierta: Luis Hernáiz Ballesteros Diseño y maquetación: Charo Villa Imprime: Gráficas Monterreina, S. A. Cabo de Gata, 1-3 – 28320 Pinto (Madrid) Impreso en papel reciclado libre de cloro Nipo: 803-10-015-2 ISBN: 978-84-692-7881-9 Dep. Legal: M-51959-2009 Índice INTRODUCCIÓN 9 EDAD MEDIA: MÚSICA, AMOR, LIBERTAD 13 Blanca Aller Nalda DAMAS Y REINAS: MUSICAS EN LA CORTE. RENACIMIENTO 29 Mª Jesús Gurbindo Lambán LABERINTOS BARROCOS 41 Virginia Florentín Gimeno MÚSICA, AL SALÓN. CLASICISMO 55 María José Fernández Riestra “COMO PRUEBA DE MI TALENTO”. COMPOSITORAS DEL SIGLO XIX 69 María Jesús Fernández Sinde TIEMPOS DE VANGUARDIA, AIRES DE LIBERTAD. LAS COMPOSITORAS DE LA PRIMERA MITAD DEL SIGLO XX 89 Gemma Solache Vilela COMPONIENDO EL PRESENTE. SONIDOS FEMENINOS SIN FRONTERAS 107 Ana Alfonsel Gómez Bibliografía y Discografía 125 Libreto 151 7 Introducción En el curso académico 2006-2007, siete profesoras de Música de Educación Secun- daria llevaron a cabo un proyecto que, tanto por su planteamiento pedagógico y didáctico como por su rigor, belleza e interés, llamó la atención del Instituto de la Mujer. Algunas de estas profesoras, que habían coincidido en un Tribunal de Oposiciones al Cuerpo de Profesorado de Enseñanza Secundaria por la especialidad de música, for - maron un Grupo de Trabajo para que el alumnado investigara la composición musi - cal también como obra femenina.
    [Show full text]