By Laura Seddon
This can be the 1st full-length learn of British women's instrumental chamber song within the early 20th century. Laura Seddon argues that the Cobbett competitions, instigated through Walter Willson Cobbett in 1905, and the formation of the Society of girls Musicians in 1911 contributed to the explosion of instrumental tune written by way of girls during this interval and highlighted women's position in British musical society within the years best as much as and through the 1st international conflict. Seddon investigates the connection among Cobbett, the Society of ladies Musicians and girls composers themselves. The book's six case reviews - of Adela Maddison (1866-1929), Ethel Smyth (1858-1944), Morfydd Owen (1891-1918), Ethel Barns (1880-1948), Alice Verne-Bredt (1868-1958) and Susan Spain-Dunk (1880-1962) - supply worthy perception into the women's musical schooling and compositional careers. Seddon's dialogue in their chamber works for differing instrumental mixtures contains an exploration of formal techniques, a subject matter a lot mentioned through modern assets. the person composers' reactions to the talk instigated via the Society of girls Musicians, at the way forward for women's track, is taken into account on the subject of their lives, careers and the chamber tune itself. because the composers during this research weren't a cohesive team, creatively or ideologically, the booklet attracts on basic resources, in addition to the writings of up to date commentators, to evaluate the legacy of the chamber works produced.
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Extra info for British Women Composers and Instrumental Chamber Music in the Early Twentieth Century
See Appendix 1 for more information on Bax. 28 Percy Scholes. The Mirror of Music 1844–1944: A Century of Musical Life in Britain as Reflected in the Musical Times (London, 1947), pp. 666 and 682 cited in Sophie Fuller, ‘Women Composers’, p. 51. As discussed previously, women were offered other subjects at Oxford from as early as 1919. org/details/womenatoxfordafr013166mbp. 2 British Women Composers and Instrumental Chamber Music Marion Scott’s house, 92 Westbourne Terrace, London Contexts: The Lives of Women Composers 25 1910.
50 Ethel Smyth, earlier in her life, had an enduring relationship with her librettist Henry Brewster, but its exact nature is not clear. 47 British Women Composers and Instrumental Chamber Music 30 Maude Valerie White and Myra Hess both had intense relationships with women – it would be dangerous to assume lesbian identities or outlooks for such women. While the same level of hysteria did not apply to lesbians as to homosexual males, lesbian women had to be cautious and sometimes chose to appear less conspicuous by marrying.
This page has been left blank intentionally Chapter 1 Contexts: The Lives of Women Composers The early twentieth century witnessed immense change in British society, especially the emancipation of woman’s place within it. The death of Queen Victoria in 1901 and the coronation of Edward VII ushered in a new era characterised by developing technology, a shifting class structure and social unrest. 3 What aspects of society and politics, therefore, affected the lives of women musicians in general and more specifically women composers?
British Women Composers and Instrumental Chamber Music in the Early Twentieth Century by Laura Seddon