From Library Journal
Burns (music, Florida Intl. Univ.) oversees this alphabetically arranged reference set on women composers, performers, teachers, and scholars from all genres of music since 1900, as well as issues, organizations, and broad topics. Individuals were selected for having made "contributions that have advanced the role of women in music" rather than for popular appeal. Thus, Jean Ritchie, Phyllis Bryn-Julson, and Melissa Etheridge rated full articles, while Hazel Dickins, Lucy Shelton, and Holly Near did not. Advisory and editorial boards assisted in selecting both the 400-plus entries, which are signed and include short bibliographies, and the 200 featured authors, most of whom are not musicologists. These authors lend an earnest "dedicated amateur" aspect to the project, which makes it accessible and yet invites further research. Typical of the thematic entries are the essays under "F": "Female Inferiority, Theories of," three articles headed "Feminist" (music criticism, music theory, and musicology), "Film Music," "Fluxus," "Folk Music," and "Fraternities and Sororities." These "foundation entries" may mention women for whom there are no separate entries or may supplement information found elsewhere in the book. Presumably, the index (not seen) will lead readers to people whose names appear only in the topical essays. The text includes 100 photos, most familiar studio portraits of performers, and a compiled bibliography concludes Volume 2. There are encyclopedias that cover American music (e.g., The New Grove Dictionary of Music and Musicians) and others that address specific genres of women in music (e.g., Virginia L. Grattan's American Women Songwriters: A Biographical Dictionary), but no other source so comprehensively covers American women and music simultaneously. Enthusiastically recommended for large public libraries and music libraries.
Bonnie Jo Dopp, Univ. of Maryland Libs., College Park Copyright 2002 Reed Business Information, Inc.
As the editor points out, "The major role that women have played and continue to play in the musical culture of the United States is indisputable." This encyclopedia is "the first major attempt" to document that role.
Approximately 300 of the A-Z entries are for women in a broad range of musical forms--Anonymous 4, Joan Baez, Cher, Judy Garland, Bernadette Peters, Leontyne Price, LeAnn Rimes, Barbra Streisand, and the Supremes, to give just a few examples. A number of educators, patrons, and researchers are also included. All of the women were born in or made most of their contribution in the U.S., were born in or lived chiefly during the twentieth century, and "advanced the role of women in music." The intent is not to be exhaustive but to identify major contributions, focusing on those who have won awards or been the first or most successful. In addition, there are entries for topics in education (children's choirs, Piano pedagogy); gender issues (Feminist music history, Male gaze); genres (Asian American music, Church music, Motown); honors and awards (Country Music Hall of Fame, Fulbright Fellowship Program); organizations (Grand Ole Opry; Performance ensembles, classical); and professions (Audio production, Music librarian). Signed entries range in length from half of a page to just over four pages for Garage rock and heavy metal bands, Rock and popular music genres, and a few others, and each includes a list of further readings. A chronology and a topical list of entries appear at the front of each volume. Volume 2 concludes with a bibliography and an index in which entry headings are denoted with bold type.
Information on many of these women is readily available in other sources. However, combining selective biographical coverage with entries for topics that address a variety of related issues provides useful context and a unique perspective. This set would be a valuable addition to academic and larger public libraries as well as any library that specializes in music or in women's studies. RBB
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