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Analytical Essays on Music by Women Composers: Concert Music, 1960–2000 ed. by Laurel Parsons and Brenda Ravenscroft

Analytical Essays on Music by Women Composers: Concert Music, 1960–2000 ed. by Laurel Parsons and... Laurel Parsons and Brenda Ravenscroft, eds. Analytical Essays on Music by Women Composers: Concert Music, 1960–2000 Oxford University Press, 2016: viii + 244 pp. ($69.00 cloth, $29.95 paper) Yayoi U. Everett Since standard music theory textbooks and anthologies of music analysis include relatively few works by women, this collection of analytic essays on postwar women composers’ music offers a welcome addition to existing lit- erature. In essays on works by Elisabeth Lutyens, Ursula Mamlok, Sofia Gubaidulina, Norma Beecroft, Joan Tower, Libby Larsen, Kaija Saariaho, and Chen Yi, leading scholars in music theory aim to link analytic observa- tions of a single composition to questions of meaning, aesthetics, and socio- historical contexts. These essays—individually or collectively—can be used to supplement textbooks on posttonal theory as well as readings in upper-division undergraduate or graduate seminars on postwar art music, performance and analysis, and/or music by women. Following an introduction, Laurel Parsons and Brenda Ravenscroft organize the eight chapters in their book themati- cally into three parts based on (1) order, freedom, and design; (2) gesture, identity, and culture; and (3) music, words, and voices. Each chapter is pre- ceded by a useful biography that introduces the composer’s background to the reader. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Analytical Essays on Music by Women Composers: Concert Music, 1960–2000 ed. by Laurel Parsons and Brenda Ravenscroft

Everett, Yayoi U.
Journal of Music Theory , Volume 62 (2) – Oct 1, 2018
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References (18)

Copyright
Copyright © 2018 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-7127718
Publisher site
See Article on Publisher Site

Abstract

Laurel Parsons and Brenda Ravenscroft, eds. Analytical Essays on Music by Women Composers: Concert Music, 1960–2000 Oxford University Press, 2016: viii + 244 pp. ($69.00 cloth, $29.95 paper) Yayoi U. Everett Since standard music theory textbooks and anthologies of music analysis include relatively few works by women, this collection of analytic essays on postwar women composers’ music offers a welcome addition to existing lit- erature. In essays on works by Elisabeth Lutyens, Ursula Mamlok, Sofia Gubaidulina, Norma Beecroft, Joan Tower, Libby Larsen, Kaija Saariaho, and Chen Yi, leading scholars in music theory aim to link analytic observa- tions of a single composition to questions of meaning, aesthetics, and socio- historical contexts. These essays—individually or collectively—can be used to supplement textbooks on posttonal theory as well as readings in upper-division undergraduate or graduate seminars on postwar art music, performance and analysis, and/or music by women. Following an introduction, Laurel Parsons and Brenda Ravenscroft organize the eight chapters in their book themati- cally into three parts based on (1) order, freedom, and design; (2) gesture, identity, and culture; and (3) music, words, and voices. Each chapter is pre- ceded by a useful biography that introduces the composer’s background to the reader.

Journal

Journal of Music Theory – Duke University Press

Published: Oct 1, 2018

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