This book explores the work of three significant American women composers of the twentieth century: Ruth Crawford, Marion Bauer and Miriam Gideon. It offers information on both their lives and music and skillfully interweaves history and musical analysis in ways that both the specialist and the more general reader will find compelling. Ellie Hisama suggests that recognizing the impact of a composer's identity on the music itself imparts valuable ways of hearing and understanding these works and breaks important new ground toward constructing a feminist music theory.
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Editorial Reviews
Review
"This important and provocative study should suggest new paths for feminist analysis." CHOICE Nov 2001
"...Hisama's general project and specific interpretations effectively illustrate new ways of mapping the influence of gender on musical structure... stimulating and original perspective..." Elizabeth Crist, Notes
"...Hisama's general project and specific interpretations effectively illustrate new ways of mapping the influence of gender on musical structure... stimulating and original perspective..." Elizabeth Crist, Notes
Book Description
This book explores the work of three significant American women composers of the twentieth century: Ruth Crawford, Marion Bauer and Miriam Gideon. It offers information on both their lives and music and skillfully interweaves history and musical analysis in ways that both the specialist and the more general reader will find compelling. Ellie Hisama suggests that recognising the impact of a composer's identity on the music itself imparts valuable ways of hearing and understanding these works and breaks important new ground towards constructing a feminist music theory.
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4.0 out of 5 stars
Interesting if dry and incomplete,
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This review is from: Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (Cambridge Studies in Music Theory and Analysis) (Hardcover)
Asian-American Hisama analyzes only seven post-tonal works by female modernist composers Crawford, Bauer, and Gideon, and those who appreciate their music should enjoy this book. She applies formalist analysis (statistics and counting, considered objective and scientific), inspired and then interpreted by what is known of the cultural, historical, and personal context of the composer in question.
This controversial approach is often known as cultural analysis (considered postmodern), and, though you may disagree, the final reading of the pieces are compelling. For example, she suggest an alternate interpretation for the first work she close reads, Crawfords String Quarter 3rd movement, that is based on near-canonic cyclic registral weaving of voices rather than the prevalent reading of the movement as consisting of one free-form sound mass which builds to a climax and subsides. Though the reasoning may be speculative, a performance inspired by this would be perfectly valid and bring to light new aspects of the work. Though Hisma quite clearly explains the biographical or cultural details and then clearly explains the formal details after a brief explanation of their connection, she does not then go back over and reshow the connection once the formal details are explained.
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Inside This Book
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First Sentence:
Given the vast, marvelous repertoire of feminist approaches to literary analysis introduced over the past two decades, a music theorist interested in bringing feminist thought to a project of analyzing music by women might do well to look first to literary theory. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
contour reduction algorithm, registral exchange, prime contour, circuitous voice, parsimonious voice, third eighth note, proletarian music, twisting activity, woman composer, deviance values, second eighth note, fourth eighth note, musical contour, quartet movement, musical modernism, dissonant counterpoint, strand pattern, contour pitches, left hand strikes, contour space, last eighth note, modernist music, triplet eighth note, highest register, male composers Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Miriam Gideon, Marion Bauer, Ruth Crawford, Charles Seeger, Milton Babbitt, Brooklyn College, Twentieth Century Music, Bauer's Toccata, Frederic Ewen, United States, American Academy, The Hound of Heaven, University of California, Book of Esther, Columbia University, Judith Tick, King Ahasuerus, Lucille Field Goodman, Martin Bernstein, Vincent Millay, Elie Siegmeister, Henry Cowell, Louise Talma, New Haven New!
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Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Given the vast, marvelous repertoire of feminist approaches to literary analysis introduced over the past two decades, a music theorist interested in bringing feminist thought to a project of analyzing music by women might do well to look first to literary theory. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
contour reduction algorithm, registral exchange, prime contour, circuitous voice, parsimonious voice, third eighth note, proletarian music, twisting activity, woman composer, deviance values, second eighth note, fourth eighth note, musical contour, quartet movement, musical modernism, dissonant counterpoint, strand pattern, contour pitches, left hand strikes, contour space, last eighth note, modernist music, triplet eighth note, highest register, male composers Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Miriam Gideon, Marion Bauer, Ruth Crawford, Charles Seeger, Milton Babbitt, Brooklyn College, Twentieth Century Music, Bauer's Toccata, Frederic Ewen, United States, American Academy, The Hound of Heaven, University of California, Book of Esther, Columbia University, Judith Tick, King Ahasuerus, Lucille Field Goodman, Martin Bernstein, Vincent Millay, Elie Siegmeister, Henry Cowell, Louise Talma, New Haven New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
Citations (learn more)
This book cites 94
books:
See all 94 books this book cites
4
books
cite this book:
- Our Contemporary Composers (Essay index reprint series) by John Tasker Howard on page 123, page 124, and Back Matter
- Dictionary of Asian American History by Hyung-Chan Kim on page 76, page 77, and Back Matter
- The Chinese Laundryman: A Study of Social Isolation (New York Chinatown history project) by Paul Siu on page 62, page 77, and Back Matter
- American Music (Encore music editions) by Paul Rosenfeld on page 123, page 124, and Back Matter
- The Music Makers by Deena Rosenberg on page 6, page 102, and Back Matter
See all 94 books this book cites
- Schumann's Dichterliebe and Early Romantic Poetics: Fragmentation of Desire (Cambridge Studies in Music Theory and Analysis) by Beate Julia Perrey in Front Matter
- Bad Modernisms by Douglas Mao in Back Matter
- Ruth Gipps: Anti-Modernism, Nationalism And Difference in English Music by Jill Halstead on page 126
- Locating East Asia in Western Art Music (Music Culture) by Yayoi Uno Everett in Back Matter
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