In this ground breaking reference book Sophie Fuller provides accessible, original and extensive information in an A to Z of over a hundred women composers from Britain and the United States, covering the period from 1629 right up to the contemporary scene. Each entry gives a flavour of the composer's milieu as well as her music, to provide a fascinating insight into both her life and creative works. Fuller examines the reasons why women composers have been so neglected, reassesses their work in the light of recent scholarship, both musicological and biographical and provides a critical frame of reference in which to place both the women and their music. Book cover.

In this ground breaking reference book Sophie Fuller provides accessible, original & extensive information in a A to Z format of over a hundred women composers from Britain & the U.S., covering the period from 1629 right up to the contemporary scene. Each entry provides a flavor of the composer's milieu as well as her music, to provide a fascinating insight into both her life & creative works. Examines the reasons why women composers have been so neglected, reassesses their work in the light of recent scholarship, both musicological & biographical, & provides a critical frame of reference in which to place both the women & their music. Photos.

Designed as a practical reference guide for professional pianists and piano teachers, A Guide to Piano Music by Women Composers, Volume I, is an annotated catalogue of the available piano music in print composed by 144 women born before the 20th century. The work also features biographies and extensive bibliographical information for each composer. Arranged alphabetically by composer into categories including single works, collections, and anthologies, the music is also described in terms of grade level, genre, mood, style characteristics, and technical requirements, and ranges in difficulty from late elementary to virtuoso concert repertoire. Far too many teachers, students, professional musicians, and audiences are unaware of the contributions made by women in music, and of the beauty and merit of their specific compositions. This reference work provides an invaluable addition to the current literature.

This book is the most definitive attempt to date to discuss the achievements of women as composers of experimental and avant-garde music from the 1930s to the present day. Using a wealth of primary material, it also explores currently relevant issues in gender and technology. Drawing out the relationships between composers and their working environments, and between teachers and students, Elizabeth Hinkle-Turner discusses the contribution of women composers to electroacoustic music. The book includes a bibliography and discography covering the work of ninety composers.

Throughout history women have been composing music, but their achievements have usually gone unrecognized.

"Composers were chosen based on the excellence of their music, their importance in the period's daily musical life, and the availability of information on their lives, music, and recordings. Taken together, they represent a broad range of styles, countries, and eras. This book is a valuable resource for students from high school through university, and for anyone interested in musical history and composers."--BOOK JACKET.

This book brings to light the choral works of three contemporary British women composers: Elisabeth Lutyens (1906-1983), Elizabeth Maconchy (1907-1994), and Thea Musgrave (1928- ). Earning solid reputations in Britain through their varying compositional styles, their music has revealed them to be substantial, prolific composers who are representative of major trends in twentieth-century British choral composition. Lutyens, often described as a musical pioneer, incorporates a highly personal and imaginative style in her use of twelve-tone technique, and her departures from the strict practice of serial writing are always highly personal and imaginative. Maconchy describes her own technique as 'impassioned argument,' using compositional tools such as contrapuntal textures in both her instrumental and choral works, resulting in a high degree of chromatic color. Musgrave encompasses many modes of expression, from her early choral works featuring tonal diatonic writing, to a free chromatic style with imprecise tonality at times. Complete with historical perspective, musical examples, and reproductions of choral texts, this resource of important and little known contemporary choral works demonstrates the diverse approaches used by these and other contemporary composers, and contributes to the growing literature on women in music.