Index

doi:10.1017/9781108556491.026

Index

A. L. S., 4, 5

academic work, gender discrimination and workplace harassment, 96–97

Adams, Elizabeth, 98

Adele, 155–159

19, 145, 156–157

21, 156, 157

25, 159

‘Daydreamer’, 156

‘First Love’, 156

‘Hello’, 159

‘Hometown Glory’, 156

‘Tired’, 156

Adler, Lou, 148

Adorno, Theodor W., 19

advocacy and activism

Black civil rights, 122, 128

#BlackLivesMatter, 272

gender equality, 86–87, 257–258, 272–273

music curriculum changes, 245

#MeToo, 80, 97, 272

‘aesthetic labour’, 285–287

Alsop, LaMar, 72

Alsop, Marin, xxi, 72–75, 77

Alsop, Ruth, 72

Alvear, Maria de, 98

Amann-Weinlich, Josephine, 65

Amos, Tori, 141

Anderson, Ian A., 166

angry young men (and women), 20, 22, see also serialism

Annenberg Foundation, 132–133

appearance, visual. see also marketing strategies and branding

‘aesthetic labour’, 285–287

opera singers, 80, 84, 87–88

solo instrumentalists, 82, 87, 88, 89–90, 285–287

Apple, Fiona, 184–185

‘Better Version of Me’, 185

‘Criminal’, 184

Extraordinary Machine, 185

‘Sleep to Dream’, 184

Tidal, 184

Armitage, M. Teresa, 241

Armstrong, Louis, 108, 109, 112

‘Brown Girl’, 108

‘Hotter Than That’, 108

‘Struttin’ with some Barbeque’, 108

Armstrong, Victoria, 240, 246, 247–248

arrangers, jazz, 108, 109, 110–111

Arrieu, Claude, 12

Artyomov, Suslin, 43

Artyomov, Vyacheslav, 43

Auerbach, Lera, 57

Auslander, Philip, 83, 155

Austin, Lovie, 108

‘Downhearted Blues’, 108

‘Travelin’ Blues’, 108

authenticity, 147–148, 152, 156, 157, 167

avant-garde music, 5–6, 53, 57

Betsy Jolas’s opinions of, 21

Egon Wellesz’s opinions of, 20

Grace Williams’s opinions of, 18–19

awards, prizes and scholarships

American Academy of Arts and Letters, 26

American Music Awards, 157

BBC Folk Awards, 166–167, 168

BRIT awards, 157, 158, 159

Ernst von Siemens Music Prize, xxi, 60

Grammys, 149, 159, 181, 184, 185

Grawemeyer Music Award, xxi, 29

Guggenheim Fellowship, xxi, 11, 25

Hanns-Eisler-Preis, 34

Koussevitsky Conducting Prize, 72

Kunstpreis der DDR, 34

Lili Boulanger Memorial Prize, 24

MacArthur Fellowship, 72

Mendelssohn Scholarship for composition, 11

MTV Video Awards, 176–177, 184

Nordic Council Music Prize, 54

Octavia Travelling Scholarship, 11

Polish state prize, 27–38

Prix de Rome, xxi, 10–11

Pulitzer Prize for Music, xxi, 29, 56, 58

Taki Concordia Conducting Fellowship, 75, 76–77

Babbitt, Milton, 26

Babes in Toyland, 141

Bacewicz, Grażyna, 34, 36, 37–39

Cello Concerto no. 1, 37

Concerto for String Orchestra, 37

Pensieri notturni, 39

Piano Concerto, 37

Piano Quintet no. 1, 37

Piano sonatas nos. 1–2, 37

Quartet for 4 Violins, 37

String Quartets nos. 4–5, 37

String Quartets nos. 4–5, 38

Symphonies nos. 2–4, 37

Violin Concertos nos. 3–5, 37

Violin Sonatas nos. 4–5, 37

Baez, Joan, 137

Bagrenin, Konstantin, 36

Bailey, Mildred, 112–113

‘The Rockin’ Chair Lady’, 113

Bain, Vick, 257–258

Baker, Elizabeth A., 215, 225

Baker, Josephine, 111

Baker, LaVern, 135

Baker, Sarah, 276, 278

Balsom, Alison, 86, 87

Bamberger, Carl, 72

bands, jazz

all-female (jazz) bands, 114–116

big bands (in general), 109, 111, 112

Bång, Malin, 59

Bangs, Lester, 180

Banks, Mark, 258, 276

Barlow, Gary, 261

Barraine, Elsa, 11, 12

Barrett, Emma, 105–106

The Bell Gal and Her Dixieland Boys Featuring Jim Robinson, 106

Barrett, Natasha, 54

… fetters …, 54

Barron, Louis and Bebe, Forbidden Planet, 199

Barry, Jeff, 124

‘Be My Baby’, 125

Bartόk, Béla, 53

Basie, Count, 113

Bauckholt, Carola

Emil, 52

Emil will nicht schlafen, 52

Bauer, Marion, 24

BBC (British Broadcasting Corporation)

Cold War period, 23

commissions, 23

Folk Awards, 166–167, 168

inter-war years, 13

Radiophonic Workshop, 200–201, 202–204, 205

Beach Boys

‘Don’t Worry Baby’, 127

‘Then I Kissed Her’, 127

Beach, Amy, 6, 10

Beatles, 119, 120, 128, 155

‘Baby, It’s You’, 120

‘Boys’, 120

‘Chains’, 120

‘Devil in her Heart’, 120

‘It Won’t be Long’, 128

‘Maxwell’s Silver Hammer’, 193

‘Please Mr. Postman’, 120

‘You’re Gonna Lose that Girl’, 128

Beecher, Catharine, 238

Bego, Mark, 151

Belly, 141

Benatar, Pat, 139

Bennett, Dawn, xxiii, 277

Bennett, Ronnie, 125

Be My Baby (autobiography), 125

Ben-Tovim, Atarah, 244

Atarah’s Band, 244

Atarah’s Music Box, 244

Berg, Alban, 20, 50

Berger, John, Ways of Seeing, 121

Berio, Luciano, 21

Berkeley, Lennox, 27

Berkers, Pawke, 254

Bernstein, Leonard, 72

Berry, Chuck, 136

‘Maybelline’, 135

Beyer, Joanna M., Ballad of the Star-Eater, 213

Beyoncé, 187, 272

big bands (in general), 109, 111, 112, see also specific band leaders

Black, Sarah, 230

Blackburn, Manuella (reflection by), 228–232

Cajón, 228

Dance Machine, 228

Ice Breaker, 228, 231

Javaari, 228

Karita oto, 228

Landline, 228, 232

New Shruti, 228

Snap Happy, 228, 232

Sonidos Bailables, 228

Switched on, 231

Time will Tell, 228, 231

#BlackLivesMatter, 272

Blondie, 126, 180

Blossoms

20 Feet From Stardom (documentary), 126

‘He’s a Rebel’, 126

Bobbettes, 124, 136

‘Mr. Lee’, 123

body/mind dualism, 240–241, 247

Boling, Inga, 135

Bordo, Susan, 176–180

Boston Philharmonic Orchestra, 66–67

Boston Women’s Symphony Orchestra, 67

Boulanger, Lili, xxi, 11

Boulanger, Nadia, 24, 25, 37, 64, 68–70, 82, 243

Boulez, Pierre, 19, 21

Bowers, Jane, xxii, 82, 245

Boyes, Georgina, 166

Braddy, Pauline, 116

The Breeders, 141

Brel, Jacques, ‘Le Moribond’, 193

Brico, Antonia, 64, 67

Briggs, Lillian, ‘I Want You to Be My Baby’, 135

Brocken, Michael, The British Folk Revival 1944–2002, 163

Britten, Benjamin, 27

Brocken, Michael, Folkscene (radio programme), 163, 167, 172

Bromfield, Dionne, ‘Mama Said’, 127

Brooks, Jeanice, 69

Brown, Andrea, 75

Brown, Maxine, ‘Oh No, Not my Baby’, 128

Buchla synthesiser, 209

Buchla, Don, 209

Buckle, Bob, 163–164, 165

Burnside, Viola ‘Vi’, 116

Bush, Kate, 153–155, 245

Aerial, 155

The Kick Inside, 153–154

Lionheart, 155

Live on Stage, 155

Never for Ever, 155

‘Wuthering Heights’, 145, 153

Butler, Judith, 95

Butler, Russell, 215, 223, 226

Caccini, Francesca, 95

Caldwell, Sarah, 71

Callas, Maria, 87–88

Calloway, Alice, 105

Calloway, Blanche, 114

Campbell, Jo-Ann, 135

Canal, Marguerite, 10–11

Canellakis, Karina, 76

Caneva, Sara, 57

Carlos, Wendy, 205–207

A Clockwork Orange, 207

Switched-On Bach, 205–206

Switched-On Bach II, 207

Switched-On Brandenburgs, 207

Tron, 207

The Well-Tempered Synthesizer, 207

Carlyle, Thomas, 245

Carr, Valerie, 135

Carter, Benny, 110

Carthy, Eliza, 168

Case, Neko, 131–132

The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You, 131

Celestin, Oscar ‘Papa’, 105

Chaka Khan, 140

Chamberlayne, Elizabeth Amelia, 4

Chaminade, Cécile, 6–7, 10, 12

Chantels, 124, 135, 136

‘Maybe’, 123

Chapel, Jean, 135

Chapman, Mike, 139

Chapman, Tracy, 141

Chavez, Maria, 219–220, 222

Chaya Czernowin, 29

Chemaly, Soraya, 271

Chen, Yi, 29

Chiffons, 123

Chin, Unsuk, 52–53

Akrostichon-Wortspiel, 52

Alice in Wonderland, 52

Double Bind, 52

Šu, 52

Chris Cleverley Trio, 172

Christiansen, Rupert, 80, 84

Church, Michael, 80

Ciani, Suzanne, 209–210

Buchla Concerts 1975, 209

The Incredible Shrinking Woman, 209

Seven Waves, 210

Citron, Marcia J., xxii, 6, 82, 240

Cizmic, Maria, 42

Clark, Andrew, 80

Clark, Claudine, ‘Party Lights’, 123

Clark, Petula, 136

Clarke, Rebecca, 10, 12

Clarkson, Lana, 126

class conflict, 11, 164

classical music

composers. see composers, classical music

conductors. see conductors

opera. see opera and music drama

performers. see performers, classical

piano works. see piano works, classical

representation in orchestras, 81

women’s orchestras, 64–66, 67–68, 70, 82

Clements, Andrew, 80

Cline, Cheryl, 181

Coates, Norma, 139

Cochran, Eddie, 135

Cohen, Aaron I., International Encyclopedia of Women Composers, xxii

Cohen, Brigid, 99

Cohen, Leonard, 150

Collins, Patricia Hill, 119, 140

Collins, Shirley, 164

Sweet Primroses, 164

Collinson Scott, Jo, 260

competitions. see also awards, prizes and scholarships

international string quartet competition, 38

Leeds Conductors’ Competition, 71

Wanamaker competition, 12

composers and sound artists, electronic/electroacoustic music. see also electronic/electroacoustic music; specific composers and sound artists

1940s and 1950s, 199–201, 210

1960s and 1970s, 200, 201, 202–204, 205–208, 209, 210

1980s and 1990s, 48, 204, 207, 208, 209–211, 229

2000s, 50, 229

2010s, 213–227, 228–232

2019 survey, 213–227

survey questions, 291–295

identities, 214–215, 217

motherhood/domestic life and, 228–232

Second World War, 200, 202

composers, classical music. see also songwriters; specific composers

17th century, 95

early 20th century, 4, 5

early 20th century commentary on, 3–5, 13

inter-war years, 5–6, 10–13

Second World War, 22, 37

mid 20th century commentary on, 28

Cold War period, 18–29, 34–45, 49

late 20th century, 29, 49, 50, 52

21st century, 48–60, 73, 98

reflection by Elizabeth Hoffman, 95–99

reflection by Steph Power, 270–274

and affective labour, 281–282

and globalisation, 52–54

as conductors, 57

as performers, 10–11, 13, 37, 38, 39, 43, 57–59, 279

ethnographic study, 278–287

femininity, 3, 6–7, 10, 22, 35, 51–52, 208, 240–241, 246, 271

‘good’ and ‘bad’ work, 277–279, 280–282, 285

‘great’ women composers, 3–4

International Encyclopedia of Women Composers, xxii

masculinity, 35, 36–37, 240

motherhood and, 51–52

The New Grove Dictionary of Women Composers, xxii

paid and unpaid work, 280–281

The Pandora Guide to Women Composers: Britain and the United States 1629-Present, xxii

representation in, 272, 277

Les Six, 13

Soviet Bloc, 34–45

composition, teaching (in schools), 240–241, 246, 247–248

Conant, Abbie, 98

conductors. see also specific conductors

first half of 20th century, 7, 64–70

post Second World War, 70–71

late 20th century, 71, 72–73

21st century, 71–72, 73–75, 76–77

as performers, 72

body language, gesture and presentation, 69–70, 73–74

‘aesthetic labour’, 287

composer-conductors, 57

conductor-pianists, 66, 68

femininity, 69, 240

male conductors’ commentary on women conductors, 64

mentoring and training programmes, 75–76

and motherhood, 283

opera and choral conductors, 71, 76–77

representation in, 277

conservatoires

America, 11, 12, 24, 106, 207

Britain, 11, 12

Czechoslovakia, 11, 27

France, 12, 21, 22, 37

Germany, 8, 9, 34

Poland, 37

Soviet Union, 35, 70

Cookies, 128

‘Chains’, 120

‘I Want a Boy for my Birthday’, 128

Coontz, Stephanie, 134

Cooper, Michael, 74

Copland, Aaron, 24

Cottel, Fran, House Projects, 229–230

Cottis, Jessica, 64

Cox, Ida, 108

Crawford Seeger, Ruth, xxi, 11, 13, 82

creative industries (in general). see music and other creative industries (in general)

Creed, Mildred, 105

Crosby, David, 150

Crow, Sheryl, 141

Crystals, 126, 136

‘Da Doo Ron Ron’, 123, 125, 126

‘He’s a Rebel’, 126

‘Then He Kissed Me’, 126, 127

Csikszentmihalyi, Mihaly, The Meaning of Things, 230

Cullen, Ann Marie, 285

Cullum, Jamie, 261

Cunningham, Flannery, Unmute, 216–217

Currie, Colin, 73

Curwen, Annie, 241–242

Curwen, John, 242

Cusick, Suzanne, xxii, 82, 83, 99

Cusick, Suzanne G., 95

Cyrus, Miley, 186, 187

Czernowin, Chaya, 59

Daisy Chainsaw, 141

Dalcroze Eurhythmics method, 242

Dallapiccola, Luigi, 25

Daniels, Mabel, 9

Darmstadt summer course and festival, 50, 59–60, 210, 211

Dartington Summer School of Music, 22, 23

David Lynch, Lost Highway, 50

Davidson, Jane, 83

Davies, Tansy

Between Worlds, 51

Cave, 51

Davis, Ernestine ‘Tiny’, 115

Davis, Miles, 50

DAWs (digital audio workstations), 220–221

Deal, Kim, 131

Debussy, Claude, 8, 54, 56

Dempf, Linda, 70

Derbyshire, Delia, 202–205

Doctor Who, 202–203

An Electric Storm, 204

Inventions for Radio, 203

‘Amor Dei’, 203–204

‘The Dreams’, 203

‘Moogies Bloogies’, 204

The Tomorrow People, 204

Work is a Four-Letter Word, 204

Wrapping, 204

Desportes, Yvonne, 12

Destiny’s Child, 141

Deveaux, Monique, 140

di Prima, Diane, Recollections of My Life as a Woman, 95

Dickenson, Vic, 110

Dickerson, James L., Go, Girl, Go! The Women’s Revolution in Music, 138

Diller, Angela, 241

Ding, Shiau-uen, 98

Dion, ‘Runaround Sue’, 138

Dire Straits, ‘Money For Nothing’, 179

Dixie Cups, ‘Chapel of Love’, 123

Dixon, Reather, 123

Dodds, Johnny, 108

Dolloff, Lori-Ann, 244, 251

Donays, ‘Devil in his Heart’, 120

Douglas, Pete, 164

Douglas, Susan, ‘Why the Shirelles Mattered’ (essay), 137

Drake, Nick, Cave, 51

Drinker, Sophie, xxii

Du Bois, W. E. B., Souls of Black Folk, 121

Du, Yun, 58–59

Angel’s Bone, 58

Where We Lost Our Shadows, 58

Dudarowa, Veronika, 64, 70–71

Dukas, Paul, 12

Dusman, Linda, 98

Dylan, Bob, 194

E. A. C, 4

Eckford, Elizabeth, 122

Eckhard, Marie, 242

education, general

19th century, 237–238

early 20th century, 238–239

education, music. see conservatoires; music education (in schools)

educationalists, 241–242, 244, see also music education (in schools)

Edwards, J. Michele, 26, 68, 70, 71

Edwards, Sian, 71

Eikhof, Doris Ruth, 258

Eilish, Billie, 187

electronic/electroacoustic music

1940s and 1950s, 199–201, 210

1960s and 1970s, 200, 201, 202–204, 205–208, 209, 210, 213, 220

1980s and 1990s, 48, 204, 207, 208, 209–211, 220, 229

2000s, 50, 229

2019 survey, 213–227

survey questions, 291–295

challenges, 225–226

composer/sound artist identities, 214–215, 217

composers. see composers and sound artists, electronic/electroacoustic music

and diversity, 213, 214

drone use, 208, 210

fixed media, 216, 220–221, 228

hardware and software, 213, 220–225

Buchla synthesiser, 209

DAWs (digital audio workstations), 220–221

fallibility, 222

gestural control, 216–217, 218

microphones, 224, 225

Moog synthesiser, 205, 206

NIMEs (New Interfaces for Musical Expression), 218–219

speakers, 224–225

Wekinator software, 217

installation works, 219–220, 225

interactive works, 216–217, 220, 221

visual and video elements, 216, 219, 221

Elgar, Edward, 5

Elkind, Rachel, 205, 206–207

Switched-On Bach, 205–206

Switched-On Bach II, 207

Switched-On Brandenburgs, 207

The Well-Tempered Synthesizer, 207

Ellington, Duke, 109, 114

Music Is My Mistress (autobiography), 114

‘Trumpets No End’, 111

Elsen, Arthur, 7

Elvis Presley, 134

Emma’s Imagination. see Gillespie, Emma (independent artists case study)

entrepreneurialism (‘essential’), 256–257, 261–262, 277–278

Equilbey, Laurence, 71

Erickson, Robert, 207

Erraught, Tara, 80

Espeland, Magne, 247–248

esteem and self-perception, independent artists’, 260, 262, 280–282, see also identity(ies)

Evrard, Jane, 67

Ewen, Frederic, 26

Exciters, ‘Do Wah Diddy’, 128

Fagandini, Maddalena, 199–200, 202

Falletta, JoAnn, 64, 71

family life. see motherhood and family life

fans

commodification of artists, 183

girl fans, 119, 120

Farberman, Harold, 72

Farnham, Alice, 64, 75–76, 77

Farrell, Lucy, 167

femininity. see also masculinity

and body/mind dualism, 240–241, 247

and composition, 3, 6–7, 10, 22, 35, 51–52, 208, 240–241, 246, 271

and conductors, 69, 240

and entrepreneurial identity, 256

and rock, 134–135, 141

and songwriters, 154

and teaching, 237–238

feminist scholarship. see women in music and feminist scholarship

Ferrière, Suzanne, 242

Fibonacci sequence, 42–43

Fiebrink, Rebecca, 217, 221–222

Wekinator software, 217

field recordings, 13, 54, 216, 226, 228, 231

Finck, Henry T., 6–7

Fine, Irving, 24

String Quartet, 24

Fine, Vivian, 26

Finnegan, Ruth, 165, 166

First World War, 10, 106–107

Fitzgerald, Ella, 113, 114, 156

‘A Tisket A Tasket’, 114

Flack, Robert, 152

Flesch, Carl, 37

Fletcher, Leila, 241

folk

1960s, 149–150, 152, 164–165

1970s, 150–153

1980s, 165–166

1990s, 153

2000s, 153

2010s, 166–174, 196

authenticity, 167

Carol Laula (case study), 264–266

conversations with Emily Portman (performer), 153

conversations with Rose Price (promoter), 169–172

festivals, 169, 170, 171, 172–173

‘figuring’ and ‘non-figuring’ of women, 163, 167–168, 173–174

folk clubs, 164, 165–166, 194, 195

instrumentalists, 168

motherhood and, 168–169

promoters, 169–173

reflection by Virginia Kettle, 192–196

song material, 169

vignette of ‘Mary’ (bandleader), 172–173

folk singers. see also specific artists

1960s, 149–150, 152

1970s, 150–153

1990s, 153

2000s, 153

2010s, 166–169

Folkman, Benjamin, 205, 206

Switched-On Bach, 205–206

Folkscene (radio programme), 163, 167, 172

Foss, Lukas, 24

Foster, Chris, 172

Four Tops, 127

Francis, Connie, 136

Frank, Gabriela Lena, 53

Compadre Huashayo, 53

El último sueño de Frida y Diego, 53

La Llorona, 53

Leyendas, 53

Franklin, Aretha, 136

Freed, Alan, 135, 146

Friedan, Betty, 134

Frith, Simon, 155, 254

Fuller, Sophie, The Pandora Guide to Women Composers: Britain and the United States 1629-Present, xxii

Fure, Ashley, 59

Furrow Collective, 167

Gaye, Marvin, 128

Geffen, David, 150

Gell, Heather, 242

gender equality activism and campaigns, 86–87, 257–258, 272–273

music curriculum changes, 245

Gender Relations in New Music (GRiNM), 59

Gershwin, George, 114

Gibault, Claire, 71

Gideon, Miriam, 26–27

The Condemned Playground, 26

The Hound of Heaven, 26

Sacred Service for Sabbath Morning, 26

Shirat Miriam L’shabbat, 26

Gill, Rosalind, 276, 282

Gillespie, Emma (independent artists case study), 261–264

Gilmour, Dave, 153

Ginastera, Alberto, 53

girl (pop) groups. see also specific groups

1950s, 123–124

1960s, 122–123, 124–126

1990s and early 2000s, 141

and boy listeners and groups, 127–128

legacy, 126–127

significance, 128–129

girl bands (jazz), 114–116

girls

clichés and stereotypes, 119

of colour, 119, 121

conceptualisation and identities, 120–122

cultural studies, 121–122

girl fans, 119, 120

the ‘girl’ in jazz, 112–114

Glanville-Hicks, Peggy, 24

Gleen, Mabelle, 241

Glennie, Dame Evelyn, 86–87

Glock, William, 22–23

Glover, Jane, 71

Goffin, Gerry, 124, 147–148

‘Something Good’, 128

‘Will You Still Love Me Tomorrow?’, 124, 125, 147–148

Goh, Talisha, xxiii

Gonzalez-Granados, Lina, 76

Goodman, Benny

‘Camel Hop’, 111

‘Lonely Moments’, 111

Gore, Lesley, 123, 136

‘You Don’t Own Me’, 138

Gow, Dorothy, 12

Grainer, Ron, Doctor Who, 202–203

Grainge, Nigel, 179–180

Grammys, 157

Gražinytė-Tyla, Mirga, 77

Green, Lucy, 154, 240, 246, 248–249

Greenwich, Ellie, 124

‘Be My Baby’, 125

Grey, Vera, 201

Gubaidulina, Sofia, 36, 42–44

Chas Dushi, 44

Introitus, 44

Jetzt immer Schnee, 43

Offertorium, 42

Stimmen … Verstummen …, 43

Günther, Dorothee, 242

Gunther, Paul, 110

Hahn, Hilary, 56

Haieff, Alexei, 24

Haley, Bill, ‘Rock around the Clock’, 135

Hall, Peter, Work is a Four-Letter Word, 204

Halsey, 186

Hancock, Herbie, River: The Joni Letters, 153

Hanley, Betty, 246

Hanley, Kay, 184

Hardin, Lil, 107–108, 109

‘Brown Girl’, 108

‘Dippermouth Blues’, 107

‘Hotter Than That’, 108

‘Struttin’ with some Barbeque’, 108

Harding, Henry, 3–4, 5, 13

Harris, Ruth, 242

Harrison, Jonty, Klang, 229

Harry, Debbie, 126–127

‘One Way or Another’, 126

‘Sunday Girl’, 126

Hart, Mrs Henry, 105

Harvey, PJ (Polly Jean), 141

Dry, 183

Rid of Me, 183

Hatakeyama, Akiko, 218, 219, 226

Hawksley, Elizabeth, 242

Hayes, Lauren Sarah, 215, 218, 221, 222, 223, 226

Haynes, Jo, 262

Heaton, Marguerite, 242

Heger, Robert, 66

Helmuth, Mara, 98, 214, 221

Abandoned Lake in Maine, 226

Irresistible Flux, 216

LOONSPACE, 226

Henderson, Fletcher, 109

Henderson, Leora Meoux, 105

Hennekam, Sophie, xxiii

Henze, Hans Werner, 50

Herbert, Matthew, Around the House, 229

Hermann’s Hermits, ‘Something Good’, 128

Hesmondhalgh, David, 276, 278

Heuermann, Lee, 98

Higdon, Jennifer, 55–56

Blue Cathedral, 55–56

Percussion Concerto, 73

Violin Concerto, 56

Hillis, Margaret, 71

Hobson, Janell, 185

Hodgson, Brian, 204

An Electric Storm, 204

The Tomorrow People, 204

Hoffman, Elizabeth

reflection by, 95–99

Retu(r)nings, 225

Holder, Terrance T., 110

Hole, 141

Holiday, Billie, 113–114

‘Don’t Explain’, 114

‘Fine and Mellow’, 114, 145

‘Strange Fruit’, 114

Holland, Eddie, 127–128

Holly, Buddy, 136

Hölzsky, Adriana, 50

homophobia, 270, 271

hooks, bell, 134

Hope, Cat, 223, 225

Hopper, Ricky, 153

Hoskyns, Barney, 141

Howe, Sondra Wieland, 241, 244, 251

Howell, Dorothy, 12

Lamia, 12

Hutton, Ina Ray, 115

Hynde, Chrissie, 194

Ian, Janis, 137

identity(ies). see also esteem and self-perception, independent artists’

of artists, 82–83, 91, 214–215, 217, 257, 262, 266, 279–280

of ‘girls’, 120–122

of entrepreneurs, 257

‘impersonation’ in performance, 84, 85, 88, 91

income and paid/unpaid work, 263–264, 276–277, 280–282

maternity benefits, 255, 258, 263–264, 282

independent artists and workers

and affective labour, 281–282

case studies, 259, 260–266

and ‘essential entrepreneurialism’, 256–257, 261–262, 277–278

esteem and self-perception, 260, 262, 280–282

ethnographic study, 278–287

‘good’ and ‘bad’ work, 277–279, 280–282, 285

identities, 82–83, 91, 214–215, 217, 257, 262, 266, 279–280

income. see income and paid/unpaid work

and motherhood, 255, 262, 263–264, 267, 282–285

portfolio careers, 259–260, 265–267, 270, 272, 273, 278

and ‘precarious labour’, 255, 258–260, 278

reflection by Steph Power, 270–274

installation works, 219–220, 225

instrumentalists

folk, 168

jazz, 105, 109, 111–112, 114–116

and motherhood, 284–285

pianists. see pianists

representation in jazz bands, 114–115

representation in orchestras, 81

solo (classical). see soloists, instrumental (classical)

women’s orchestras, 64–66, 67–68, 70, 82

instruments, ‘suitability’ for women, xxi, 65, 82, 104, 106, 154, 168, 245–246

International Sweethearts of Rhythm, 115–116

Isley Brothers, 127

Jack, Hamilton, 150

Jacks, Terry, ‘Seasons in the Sun’, 193

Jackson, Janet, 177–178, 185, 186

Damita Jo, 185

Jackson, Wanda, 133, 134

‘Let’s Have a Party’, 136

James Taylor, 150

James, Etta, 156

James, Ivor, 243

Jansons, Mariss, 64

Jarrar, Khaled, 58

jazz. see also specific artists

origins, 103–104

late 19th century, 104–105

early 20th century, 105

First World War, 106–107

inter-war years, 105–106, 107–111, 112–115

Second World War, 112, 115–116

post Second World War, 106, 116

2000s, 153

all-female bands, 114–116

arrangers, 108, 109, 110–111

big bands (in general), 109, 111, 112, see also specific band leaders

black women and (in general), 103–104, 105, 106–107, 111–112

Chicago, 107–108

Europe, 111–112

the ‘girl’, 112–114

instrumentalists, 105, 109, 111–112, 114–116

Kansas City, 109–111

New Orleans, 104–106

New York, 108–109

pianists, 105–106, 107–108, 109–111

recordings. see recordings:jazz; underspecific artists and bands

undesirable associations, 104, 106

vocalists, 107, 112–114

white bands, 115

Jelinek, Elfriede, 50

Bählamms Fest, 50

Der Fall Hans W., 50

Die Klavierspielerin, 50

Lost Highway, 50

Jenkins, Katherine, 88–89

Jett, Joan, 139

Jirák, Karel, 27

Jolas, Betsy, 20–22, 29

11 Lieder, 21

Mots, 21

D’un opéra de voyage, 21

Le pavillon au bord de la rivière, 21

Plupart du temps, 21

Quatour II, 21

Schliemann, 21

Sonate à 12, 21

Jones, Dolly, 107

Joplin, Janis, 137, 181

Jordan, Louis, ‘I Want You to Be My Baby’, 135

Just, Helen, 243

Karathanasis, Konstantinos, Ode to Kitchen, 229

Kathryn Lofton, 183

Kats-Chernin, Elena, 29

Kavakos, Leonidas, 57

Requiem (Dresden. An Ode to Peace), 57

Keetman, Gunild, 242

Musik für Kinder, 242

Kern, Jerome, 114

Kerr, Nancy, 168

Kesha, 186, 187

Kettle, John, 195

Kettle, Virginia (reflection by), 192–196

Keychange campaign, xxi, 257, 273

Khrushchev, Nikita, 33

Kimball, Jeanette Salvant, 105

King, Carole, 124–125, 146–149, 150–151, 152

‘It’s Too Late’, 149

‘Something Good’, 128

Tapestry, 148–149, 150, 151

‘Will You Still Love Me Tomorrow?’, 124, 125, 147–148

‘You Make Me Feel (Like a Natural Woman)‘, 145

‘You’ve Got a Friend’, 149

King, Jonathan, 182

King, Mary, 244

Musicality, 244

Operatunity, 244

Kirk, Andy, 109, 110, 114

Kirk, Mary Colston, 110

Kirshner, Don, 147

Kiyoko, Hayley, 186

Klein, Judy, 98

Knight, Gladys, 122

‘Midnight Train to Georgia’, 122

Knopfler, Mark

‘Money For Nothing’, 179

‘Private Dancer’, 179

Konecki, Simon, 159

Kremer, Gideon, 57

Kristofferson, Kris, 182

Kubrick, Stanley, A Clockwork Orange, 207

L’Amour, 48

L7, 141

LaBarbara, Joan, 220, 224

Lachenmann, Helmut, 59

Lady Gaga (Stefani Germanotta), 185–186, 187

‘Bad Romance’, 186

‘Born This Way’, 186

‘Til It Happens to You’, 186

Lamb, Roberta, 244, 251

Lansky, Paul

Table’s Clear, 229

Laula, Carol (independent artists case study), 264–266

The Bones of It, 265

Lauper, Cyndi, 176

‘Girls Just Want To Have Fun’, 178

‘She Bop’, 176, 177

Laurie, Linda, 135

Le Beau, Louise Adolpha, 6, 8–9, 10

autobiography, 8–9

Hadumoth, 9

Der verzauberte Kalif, 9

Violin Sonata, 8

Lee, Brenda, 136

Lee, George E., 109–110

Lee, Julia, 109–110

‘Gotta Gimme Watcha Got’, 110

‘My Man Stands Out’, 110

‘Trouble in Mind’, 110

Lee, Laura, ‘Women’s Love Rights’, 125

LeFanu, Nicola, 11, 29

Leginska, Ethel, 64, 66–70

Leibowitz, René, 19

Leleu, Jeanne, 10–11

Lemare, Iris, 13

Lennox, Annie, 194

Lesley, Alis, 135

Lewis, Jerry Lee, 136

Lewis, Patricia, 256

Ligeti, György, 52

Lim, Liza, 53–54, 59

How Forests Think, 53–54

literature, as gendered, 120–121

Little Eva (Eva Boyd), 123

‘The Locomotion’, 125

Littleton, Karen, 282

Lloyd, Bert, 164

Lockwood, Annea, 98

Long, Marguerite, 243

Lopez, Cecilia, 215, 222

RED, 222

Lorre, Inger, 141

Lovato, Demi, 187

Love, Darlene, ‘Christmas (Baby Please Come Home)’, 126

Lowings, Kim, 172

Lu, Tianyi, 76

Lucas, Marie, 114

Lucas, Sam, 114

Lukomsky, Vera, 42

Lunceford, Jimmy, ‘What’s Your Story Morning Glory’, 111

Lupton, Stewart, 194

Lutosławski, Witold, 37

Lutyens, Elisabeth, 5, 13, 22–23, 27, 82

And Suddenly It’s Evening, 23

Chamber Concerto No. 1, 22

Essence of Our Happinesses, 23

Motet for unaccompanied chorus, 22

O Saisons, O chateaux, 22

String Quartet No. 6, 22

Tractatus Logico-Philosophicus, 22

Maalouf, Amin, 48

MacColl, Ewan, 164, 165

MacDowell, Jeannie, 201

Macnaghten, Anne, 13

Maconchy, Elizabeth, 5, 11, 12, 13, 27–28

broadcasts and recordings, 13

The Departure, 27

The Land, 27

Nocturnal, 27

Piano Concertino, 27

Serenata Concertante for Violin and Orchestra, 27

The Sofa, 27

string quartets, 27, 28

The Three Strangers, 27

Maddison, Adela, 6, 8, 9, 10

Maddocks, Fiona, 71, 75

Madonna, 176–177, 178, 180, 185, 186, 187

‘Express Yourself’, 125

‘Like a Virgin’, 176–177

Mae, Vanessa, 89–90

Mahler, Alma, 12

Mahler, Gustov, 12, 50

Malov, Oleg, 40

Manfred Mann

‘Do Wah Diddy’, 128

‘Oh No, Not my Baby’, 128

‘Sha La La’, 128

Mann, Barry, 124

Mann, Gloria, 135

Marin Alsop, 64

marketing strategies and branding

‘aesthetic labour’, 285–287

classical performers, 85, 87–91, 285–287

independent artists, 265

pop artists, 85, 180, 181, 183–186

Marr, Johnny, 128

Marsh, Lin, 244

Marshall, Lee, 262

Martha & the Vandellas, 128

Martin, Janis, 135

Martinez, Odaline de la, 71

Martyn, Jon, 194

Marvelettes

‘Beechwood 4-5789‘, 123

‘Please Mr. Postman’, 120, 125, 128

‘Too Many Fish in the Sea’, 125

Masaoka, Miya, 98

masculinity. see also femininity

and composition, 35, 36–37, 240

and folk, 163, 167–168, 173–174

and performance, 96

and rock, 134–135, 139, 142

and socialist realism, 35, 36, 44

Master of the Queen’s Music, 49

maternity benefits, 255, 258, 263–264, 282

Matiakh, Ariane, 64, 71

Matmos, Ultimate Care II, 229

Maureen Mahon, 134

Maxwell Davis, Peter, 49

Mazzoli, Missy, 56

Breaking the Waves, 56

McBurney, Gerald, 44

McCabe, Jessy, 245

McCarthyism, 26–27

McClary, Susan, xxii, 96

McCleary, Susan, 82

McCrea, Earl-Jean, ‘Something Good’, 128

McDonald, Tim, 71

McFadden, Ruth, 135

McNaught, William, 5–6

McRobbie, Angela, 254, 281, 282

McShann, Jay, 110

McShee, Jacqui, 169

Meier, Gustav, 72

Melville, Herman, 50

Meoux, Leora, 109

Messiaen, Olivier, 21

metal, 138, 254

#MeToo, 80, 97, 272

Michael Haneke, La Pianiste, 50

microphones, and electronic music, 224, 225

Milhaud, Darius, 21

Miller, Mark, 112

minstrel shows, 104, 105, 114

Mishra, 172

Mitchell, Chuck, 150

Mitchell, Joni, 129, 137, 149–153, 194

‘All I Want’, 150, 151–152

‘Blue’, 152–153

Blue, 150–153

Both Sides Now, 153

‘Carey’, 150

‘A Case of You’, 150

‘The Last Time I Saw Richard’, 150

‘Little Green’, 152

‘My Old Man’, 150

Shine, 153

Travelogue, 153

Mochizuki, Misato, 59

Monáe, Janelle, 186

Monnakgotla, Tebogo, Jean Joseph, 51

Moog synthesiser, 205, 206

Moog, Robert, 205–206

Moore, Allan, 147–148, 152, 155, 156, 157, 158

Morgan, George, 258

Morissette, Analis, 141, 183–184

Jagged Little Pill, 183

Morrison, George, 110

Morrison, Richard, 80

Morrissey, 128

Morton, Timothy, 58

motherhood and family life

and classical composers, 51–52

and conductors, 283

and electronic/electroacoustic composers, 228–232

and folk, 168–169

and independent artists, 255, 258, 262, 263–264, 267, 282–285

and installation art, 229–230

and instrumentalists, 284–285

maternity benefits, 255, 258, 263–264, 282

scholarship, 230

Motown, 127–128, 136

MTV and video, 176–179, 181, 184, 185–186

MTV Video Awards, 176–177, 184

Mulvey, Laura, 84–85

Mundry, Isabel, 59

Mundt, Marta, 10

Murphy, Helen, 105

Murray, Margaret, 242

Music for Children, 242

Musgrave, Thea, 23–24, 29

Chamber Concerto No. 2, 23

Clarinet Concert, 23

The Decision, 23

Harriet, the Woman Called Moses, 23

Horn Concerto, 23

Mary, Queen of Scots, 23

Pontalba, 23

Simon Bolivar, 23

Space Play, 23

Viola Concerto, 23

music and other creative industries (in general)

complexity, 259

‘good’ and ‘bad’ work, 277–279, 280–282, 285

independent artists and workers. see independent artists and workers

and neoliberal orthodoxies, 276, 277–278

and ‘practice’, 258

representation in, xxii, 81, 114–115, 255–256, 257–258, 277

music education (in schools). see also conservatoires

composition, 240–241, 246, 247–248

educationalists, 241–242, 244

female role models, 245, 249

gendered dichotomies

educator/teacher vs artist/musician, 249–250

formal vs informal learning, 248–249

technological vs non-technological practices, 247–248, 277

Orff-Schulwerk and Dalcroze Eurhythmics methods, 242

organisations, 244

Pearson Edexcel’s curricular changes, 245, 246, 250

white male curricular focus, 241, 244–245, 250

‘Music Mouse’ intelligent instrument, 217–218

musique concrète, 199

Mutter, Anne-Sophie, 60

Nash, Graham, 150

nature in music, 53–55

Nelligan, Pariece, 258

neoliberalism, 276, 277–278

Neuls-Bates, Carol, 65

Neuwirth, Olga, 50–51, 59

American Lulu, 50

Bählamms Fest, 50

Lost Highway, 50

… miramondo multiplo …, 50

Orlando, 50–51

The Outcasts, 50

Nevin, Al, 147

Newley, Antony, ‘Moogies Bloogies’, 204

Newton, Rachel, 167, 168

Nicholson, Linda, 165

Nickson, Dennis, 285

NIMEs (New Interfaces for Musical Expression), 218–219, see also electronic/electroacoustic music

Noeske, Nina, 36

Nono, Luigi, 50

Norman-Neruda, Wilma, 82

Norvo, Red, 110

Nourbakhsh, Niloufar, 214, 223

METRO, 216

Nymphs, 141

O’Brien, Lucy, 145

O’Ceallaigh, Fatchna, 181

O’Connor, Sinéad, 179–183, 184, 185, 186

Am I Not Your Girl, 181–182

‘The Emperor’s New Clothes’, 181

Gospel Oak, 182

I Do Not Want What I Haven’t Go, 181

The Lion and the Cobra, 180

‘Mandinka’, 185

‘Nothing Compares 2 U’, 181

Universal Mother, 182

O’Dair, Barbara, Trouble Girls: The Rolling Stone Book of Women in Rock, 131

O’Hooley & Tidow, 169

O’Hooley, Belinda, 169, 172

O’Keeffe, Georgia, 132

Odetta, 137

Oliver, Joe ‘King’, 107

‘Dippermouth Blues’, 107

Oliveros, Pauline, 129, 207–208

‘And Don’t Call Them Lady Composers’ (essay), 208

Apple Box, 217

Bye Bye Butterfly, 208

I and II of IV, 208

Ono, Yoko, Wrapping, 204

opera and music drama

early 20th century, 8, 9

Cold War period, 21, 23, 24, 27, 49

late 20th century, 49, 50

21st century, 23, 48–51, 52, 53, 55, 56, 57–58

alternative venues, 51

conductors, 71

opera singers. see also specific singers

crossover work, 88–89

visual appearance, 80, 84, 87–88

Oram, Daphne, 200–202, 205

Amphitryon 38, 200

Costain Mine, 201

Dr. No, 201

Electronic Sound Patterns, 201

‘Four Aspects’, 201

An Individual Note (autobiography), 201

The Innocents, 201

Listen, Move and Dance, 201

Oramics machine, 201–202

Power Tools, 201

Pulse Persephone, 201

Rockets in Ursa Major, 201

Rotolock, 201

orchestras, women’s, 64–66, 67–68, 70, 82

Ore, Cecilie

Adam & Eve – a Divine Comedy, 51

Dead Beat Escapement, 51

Orff-Shulwerk, 242

Orloff, Katherine, Rock ’n’ Roll Woman, 142

Ory, Kid, 108

outreach activities and projects

Baltimore Symphony Orchestra, 73

OrchKids, 73

Ouzounian, Gascia, 99

Owen, Morfydd, 10

Ozawa, Seiji, 72

Pade, Else Marie, 210

Pagh-Paan, Youngi, 59

Pakhmutova, Aleksandra, 34

Panufnik, Andrzej, 37, 53

Panufnik, Roxanna, 53

Unending Love, 53

Paper Lace, ‘Billy don’t be a Hero’, 193

Papi, Gennaro, 66

Parker, Charlie, 110

Parra, Alondra de la, 77

Parry, Hubert, 5

Parton, Dolly, ‘9 to 5’, 178

Pauline Oliveros, 28–29

Paynter, John, 242

Pearson, Roberta, 84

pedagogists, 241–242, 244

Peleggi, Valentina, 76

Pentangle, 169

performers, classical. see also specific performers

and ‘impersonation’, 84, 85, 88, 91

composers as. see composers, classical music:as performers

conductors as, 72

femininity and masculinity, 96

marketing, 85, 87–91, 285–287

on- and off-stage personae, 83–84

self-presentation and identity, 82–83, 91

solo instrumentalists (classical). see soloists, instrumental (classical)

solo vocalists. see soloists, vocal (classical)

visual appearance

opera singers, 80, 84, 87–88

soloists, 82, 87, 88, 89–90, 285–287

voyeurism and sexualisation, 84–85, 88, 91, 285–287

Perkarsky, Mark, 44

Perry, Julia, 24, 25–26

Homunculus, C. F., 25

‘I’m a Pool Li’l Orphan in This Worl’, 25

Short Piece for Orchestra, 25

Stabat Mater, 25

symphonies, 26

Pert, Yvonne, 10

Pesci, Joe, 182

Petrenko, Vasily, 64

Petrides, Frédérique, 64, 67

Petrusich, Amanda, 181

Phair, Liz, 141

Exile in Guyville, 183

pianists. see also specific pianists

conductor-pianists, 66, 68

jazz, 105–106, 107–108, 109–111

piano works, classical

early 20th century, 7

inter-war years, 12

Cold War period, 24, 27, 34, 37, 40, 41–42, 44

Pilkinton, Kathy, 172

Pitts, Lilla Bell, 241

Plé-Caussade, Simone, 21

Poldowski (Irene Wieniawska/Lady Dean Paul), 9–10

Polignac, Princesse Edmond de (Winnaretta Singer), 9, 10, 13, 68

pop (girl) groups. see girl (pop) groups

pop artists. see also specific artists

1960s, 123, 125

1970s, 125

1980s, 125, 176–181

2000s, 185–186

2010s, 261–264

Emma Gillespie (case study), 261–264

male gaze, 176, 180–181

marketing strategies and branding, 85, 180, 181, 183–186

mental health, 182–183, 184–185, 186–187

MTV and video. see MTV and video

multiple personae, 83, 158

representation in, 255–256

‘popera’ stars, 88–89

popular music. see also songwriters

folk. see folk

jazz. see jazz

Motown, 127–128, 136

MTV and video. see MTV and video

pop. see girl (pop) groups; pop artists

rock. see rock

portfolio careers, 259–260, 265–267, 270, 272, 273, 278

Portman, Emily (conversations with), 166–169

‘Borrowed and Blue’, 169

Portman, Rachel, 245

Power, Karen, 214, 224

Power, Steph (reflection by), 270–274

Powers, Ann, 141

Presley, Elvis, 133, 134–135, 136

‘Hound Dog’, 134–135

‘You’re the Devil in Disguise’, 138

Price, Florence, 12

Piano Sonata, 12

Symphony, 12

Price, Rose (conversations with), 169–172

prizes. see awards, prizes and scholarships

Proctor, Sadah Espii, 215, 219–220, 221, 224

producers, representation in, 255–256

Proms (Promenade Concerts)

1920s, 12

Cold War period, 23

1980s, 71

2010s, xxi, 64, 72, 73, 74–75, 76, 77

Public Enemy, Fight, 117

punk, 126, 128, 138, 193, 254

Quaile, Elizabeth, 241

Rabearivelo, Jean-Joseph, 51

Radigue, Éliane, 210

Adnos trilogy, 210

Radiophonic Workshop (BBC), 200–201, 202–204, 205

Rainey, Ma, 108

Rainier, Priaulx, 24

Ramones, ‘Baby I Love You’, 128

Randall, Annie, 99

Rao, Doreen, 244

Rascal, Dizzee, 261

Ratkje, Maja, 58–59

§ 112, 58

Crepuscular Hour, 58

Voice, 58

Waves I and Waves II, 58

recordings. see also under specific artists, bands and groups

classical

inter-war years, 13

21st century, 73, 90–91

field recordings, 13, 54, 216, 226, 228, 231

jazz

inter-war years, 105–106, 107, 108, 110, 113

post 1940, 106, 110, 114

Turning the Tables list of 150 best albums by women, 129

Reddington, Helen, 254

Redman, Don, 109

Reed, Vanessa, 257

Reich, Nancy B., xxii

Reid, Susan, 33

Rhythmettes, 135

Richard, Little, 135, 136

Richardson, J. P., 136

Rieger, Eva, xxii

Rihm, Wolfgang, 59

Riley, Terry, 207

Rink, John, 84

Riot Grrrl movement, 183

Road Not Taken, 172

Roberts, Alasdair, 167

Roberts, Elliot, 150

Rochbert-Halton, Eugene, The Meaning of Things, 230

rock. see also specific artists; specific rock groups

1950s, 133–135

1960s, 136–138

1970s and 1980s, 126, 138–140, 142

1990s and early 2000s, 131, 140, 141

2010s, 131–132

and authenticity, 147–148

and conceptualisation of ‘women’, 137

false categorisation and gatekeeping practices (‘rockism’), 138–141

femininity and masculinity, 134–135, 139, 141, 142

lack of models and reinvention, 141

marginalisation and anomalousness, 132–135

metal, 138, 254

punk, 126, 128, 138, 193, 254

and the ‘sexbomb’, 134–135

and the sexual revolution, 137

and women of colour, 133, 134–135, 140

Rohlfing, Mary E., 147

Ronettes, 123, 125, 129, 136

‘Baby I Love You’, 128

‘Be My Baby’, 125, 127

Rowland, Jess, 215, 219–220, 225, 226

The Very Long Sound, 225

Royal, Kate, 84

Rusby, Kate, 169

Rush, Loren, 207

Russ, Joanna, How to Suppress Women’s Writing, 132, 133–134, 137, 138–139, 140–141, 142

Russell, Lucy, 271

Russell, Richard, 155

Rutland, Harold, 28

Saariaho, Kaija, 29, 48–49, 59, 60, 210–211, 245

Adriana Mater, 48

L’Amour de loin, 48

Emilie, 48

Jardin Secret I, 211

La Passion de Simone, 48

Sadie, Julie Anne, The New Grove Dictionary of Women Composers, xxii

Sainte-Marie, Buffy, 137

salon music, 7–8

Salvant Kimball, Jeanette, 105

Samuel, Rhian, 29

Samuel, Rhian, The New Grove Dictionary of Women Composers, xxii

Sanders, Hannah, 172

Sands, Jodie, 135

Sanneh, Kelefa, 140

Satie, Erik, 13

Saunders, Rebecca, xxi, 59–60

Savage, Ben, 172

Schaaps, Julian, 254

Schaeffer, Pierre, 199, 210

Scharff, Christina, 285

Schedel, Margaret, 220

After Apple Box, 217

Schmelz, Peter, 42

Schoenberg, Arnold, 20, 57, see also serialism

scholarships. see awards, prizes and scholarships

Schumann, Clara, 81–82, 245

Schumann, Robert, Frauenliebe und Leben, 51

Scott, David, 260

Second World War

and composers, 22, 37

and jazz, 112, 115–116

and women’s orchestras, 70

Sedaka, Neil, 124, 147

Seeger, Charles, 11

self-employment. see independent artists and workers

Semegen, Daria, 98

Sender, Ramon, 207

serialism, 19, 20, 22, 24, 25, 38, 42, see also Lutyens, Elisabeth; Talma, Louise

Sessions, Roger, 26

sexual revolution, 137–138, 165

ShangriLas, 123, 126, 127, 129

‘Give Him a Great Big Kiss’, 128

‘I Can Never Go Home Anymore’, 126

‘Leader of the Pack’, 126

‘Out in the Streets’, 126

‘Past, Present and Future’, 126

Shankar, Anoushka, 245

Shapero, Harold, 24

Shin, Seongah, 214, 224, 226

Shindler, Alma, 12

Shirelles, 123, 124, 136

‘Baby, It’s You’, 120

‘Boys’, 120

‘Mama Said’, 127

‘I Met him on a Sunday’, 123–124

‘Sha La La’, 128

‘Will You Still Love Me Tomorrow?’, 124, 147–148

Sholette, Gregory, 258

Shostakovich, Dmitri, 35, 40, 57

Shuman, Mort, 124

Shumway, David, 145

Sikorski, Kazimierz, 37

Simon, Paul, 194

Simone, Nina, 129, 137

‘Mississippi Goddam’, 145

Sinatra, Frank, 181

Singer, Winnaretta (Princesse de Polignac), 9, 10, 13, 68

Sioux, Siouxsie, 194

Les Six (composers), 13

Skolnik, Jes, 139–140

Slick, Grace, 137

Smith, Arlene, 123

Smith, Bessie, 113

Smith, Eleanor, 241

Smith, Gareth Dylan, 282–283

Smith, Maime, ‘Crazy Blues’, 107

Smith, Patti, 131

Smiths, ‘I Want a Boy for my Birthday’, 128

Smyth, Ethel, 5, 6, 8, 9, 10, 12

The Boatswain’s Mate, 8

Entente cordiale, 8

Fête galante, 8

Overture to Shakespeare’s Anthony and Cleopatra, 5

The Wreckers, 8

Der Wald, 8

Snider, Sarah Kirkland, 56

Penelope, 56

Unremembered, 56

Snow, Valaida, 111–112

socialist realism, 36–38, 42, 45

Society of Women Musicians, 13

soloists, instrumental (classical). see also performers, classical; specific soloists

19th century, 81–82

crossover work, 88–90

visual appearance, 82, 87, 88, 89–90, 285–287

soloists, vocal (classical)

16th and 17th centuries, 81

opera singers. see opera singers

Somogi, Judith, 71

songwriters. see also specific songwriters

late 19th/early 20th century, 7

1940s, 21

1950s, 25, 146–147

1960s, 21, 23, 124–125, 127–128, 137, 147–148, 149–150, 152

1970s, 148–149, 150–155

1980s, 139, 155

1990s and early 2000s, 141, 153, 155

2010s, 155–159

Carol Laula (case study), 264–266

Emma Gillespie (case study), 261–264

authenticity, 147–148, 152, 156, 157

femininity, 154

reflection by Virginia Kettle, 192–196

representation in, 255–256

singer-songwriters, 137, 139, 141, 145–160

Carol Laula (case study), 264–266

Emma Gillespie (case study), 261–264

sound artists. see composers and sound artists, electronic/electroacoustic music

SoundBox, 169, 171, 172

Soviet Bloc

composers, 34–45

conductors, 70–71

gender equality, 33, 34–36, 44–45

Soviet occupation

Czechoslovakia, 27

Poland, 37

speakers, and electronic music, 224–225

Spector, Phil, 125, 126, 127

Spice Girls, 141

Spiegel, Laurie, 98, 217–218, 221, 222, 223–224

Spiller, Isabele Taliaferro, 105

Spitanly, Phil, 115

Spiteri, Sharleen, 261

Springfield, Dusty, 136

Stahl, Matt, 258

Stam, Robert, 84

Starr, Jean, 115

Starr, Kay, ‘Rock and Roll Waltz’, 135

Stern, Toni

‘It’s Too Late’, 148, 149

‘Where You Lead’, 148

Stockhausen, Karlheinz, 19, 21

Gesang der Jungelinge, 211

Stravinsky, Igor, 8, 19, 50, 56

Suhadolnik, Sarah, 157, 158

Summer, Donna, 140

support networks, 13, 22, 75, 97, 98–99, 223, 226–227

Supremes, 123, 128, 136

Suslin, Viktor, 40

Taaffe Zwilich, Ellen, xxi, 29

Tailleferre, Germaine, 8, 12–13

Taki, Tomio, 75

Talma, Louise, 24–25

13 Ways of Looking at a Blackbird, 25

The Alcestiad, 25

Alleluia in the Form of a Toccata, 24

The Ambient Air for ensemble, 25

Second Piano Sonata, 24

Six Etudes for piano, 24

Toccata for Orchestra, 24

Tanaka, Karen

Silent Ocean, 55

Tales of Trees and Crystalline, 55

Water and Stone, 55

Taylor, James, 150–151, 152

Mud Slide Slim and the Blue Horizon, 151

Taylor, Stephanie, 279, 282

Te Kanawa, Dame Kiri, 89

Teague, Adele, 282–283

Teller, Al, 176

Tereshkova, Valentina, 33

Thomas, Adrian, 38

Thomas, Augusta Read, 56

Sweet Potato Kicks the Sun, 56

Thome, Diane, 98

Thompson, Richard, 194

Thomson, Virgil, 22

Thornton, Big Mama, 134–135

‘Hound Dog’, 134

Thorvaldsdottir, Anna, 54–55

Aion and Dreaming, 55

Fields, 55

In the Light of Air, 55

URI, 55

Threlfall, Jane, 166

Thunders, Johnny, ‘Give Him a Great Big Kiss’, 128

Tick, Judith, xxii, 82, 245

Tickell, Kathryn, 168

Tidow, Heidi, 169, 172

Timberlake, Justin, 185

TLC, 141

Tobin, Amon, Kitchen Sink, 229

Touret, André, 37

Tower, Joan, xxi, 29

Fanfares for the Uncommon Woman, 29

Silver Ladders, 29

Troxler, Yvonne, 98

Tsvetaeva, Maria, 44

Tucker, Sherrie, 115

Turner, Tina, 176, 178–179, 186

‘Better Be Good To Me’, 179

Mad Max Beyond Thunderdome, 178

‘Private Dancer’, 178–179

Private Dancer, 178

‘What’s Love Got To Do With It’, 179

twelve-tone technique. see serialism

Union des Femmes Professeurs et Compositeurs de Musique, 13

Upton, George, 241

Urs, Camilla, 82

Ussechevsky, Vladimir, 205

Ustvolskaya, Galina, 35, 36–37, 39–42

Composition No. 1 ‘Dona Nobis Pacem’, 40–41

Composition No. 2 ‘Dies Irae’, 40

Composition No. 3 ‘Benedictus, Qui Venit’, 40–41

Piano Sonata no. 6, 41–42

Piano Sonatas nos. 5 and 6, 40

Poem No. 1 (‘The Hero’s Exploit’), 37

Son Stepana Razina, 37

Stepan Razin, 37

Symphony no. 2 ‘True and Eternal Bliss’, 41

Symphony no. 3 ‘Jesus, Messiah, Save Us!’, 41

Symphony no. 4 ‘Prayer’, 41

Symphony no. 5 ‘Amen’, 41

Valens, Ritchie, 136

vaudeville, 105, 106–107

Vaughan Williams, Ralph, 12

Vavrek, Royce, Angel’s Bone, 58

Vicinus, Martha, 13

vocalists

classical soloists. see soloists, vocal (classical)

folk. see folk singers

jazz, 107, 112–114

pop artists. see pop artists

Voigt, Deborah, 80

Vorhaus, David, 204

An Electric Storm, 204

Vyner, Michael, 271

Waits, Tom, 194

Walkerdine, Valerie, 121

Walshe, Jennifer, 57–59, 221, 224, 225

The New Discipline (manifesto), 57

Time Time Time, 58

XXX Live Nude Girls, 57–58

Wang, Yuja, 88

Warhurst, Chris, 258, 285

Waters, Ethel, 108

Wayne Bowman, 247

Webb, Chick, 114

Webern, Anton, 8, 21, 22

Weil, Cynthia, 124

Weil, Simone, 48

Weir, Judith, 29, 49–50

King Harald’s Saga, 49

Miss Fortune, 49–50

The Vanishing Bridegroom, 49

Weisgall, Hugo, 26

Wekinator software, 217

Wellesz, Egon, 20

Wells, Mary, 136

Wennäkoski, Lotta

Lelele, 51

Life and Love of a Woman, 51

Wexler, Jerry, ‘You Make Me Feel (Like a Natural Woman)’, 148

Weymouth, Tina, 131

White Noise, An Electric Storm, 204

White, Maude Valérie, 6, 7, 11

‘Isaotta Blanzemano’, 7

Whiteley, Sheila, xxii

Whiteman, Paul, 110, 112

‘The Rockin’ Chair Lady’, 113

Whiteman, Wilberforce J., 110

Wieniawski, Henri, 9

Wilcox, Toyah, 194

Williams, Grace, 5, 11, 12, 13, 18–20

Fantasia on Welsh Nursery Tunes, 20

Penillion, 20

Second Symphony, 20

‘Symphonic Impressions’, 20

Trumpet Concerto, 20

Williams, John, 109, 110

Williams, Mary Lou, 109, 110–111

‘Camel Hop’, 111

‘Drag ’Em’, 110

‘Little Joe from Chicago’, 110

‘Lonely Moments’, 111

‘Mary’s Idea’, 111

‘Night Life’, 110

‘Trumpets No End’, 111

‘Walkin’ and Swingin’’, 111

Wilson, Brian, 127

Winderen, Jana, 54

Classified, 54

Winehouse, Amy, 127

Winfrey, Oprah, 183

Witz, Anne, 285

Woll, Erna, 34

‘women in music’ (folk) panel discussion, 167

Women in Music (WIM) (organisation), 257

women in music and feminist scholarship, xxii–xxiii, 82, 134, 140, 185, 251

‘women in rock’ (trope), 139–140, 141–142

women’s orchestras, 64–66, 67–68, 70, 82

Wood, Julian, 258

Woolf, Virginia

Orlando, 51

World War One, 10, 106–107

Worden, Shara, 56

World War Two. see Second World War

Wu, Wei, 52

Yorke, May, 105

Yorke, Mayda, 105

Young, Billy, 105

Young, Irma, 107

Young, Lester, 110, 113

Young, Lisetta, 105

Young, Simone, 71

Z, Pamela, 215, 218–219, 220, 222

Zechlin, Ruth, 34, 35, 36, 39

Gedanken über ein Klavierstück von Prokofiew, 34

Wider den Schlaf der Vernunft, 39

Zhang, Xian, 64, 71, 77

Book contents

Index

Summary

Index

Book contents

Index

Summary

Save book to Kindle

Save book to Dropbox

Save book to Google Drive