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LEADER 03066cam a22004214a 4500

001 ocm45917211;

003 OCoLC;

005 20141212161301.0;

008 010208s2002 ctuag bk 001 0 eng ;

010 a| 2001023329;

020 a| 0313313202q| (alk. paper);

035 a| (Sirsi) o45917211;

035 a| (OCoLC)45917211;

042 a| pcc;

049 a| EREM;

050 00 a| ML82b| .M22 2002;

082 00 a| 780/.822| 21;

100 1 a| Macarthur, Sally.=| ^A511157;

245 10 a| Feminist aesthetics in music /c| Sally Macarthur.;

260 a| Westport, CT :b| Greenwood Press,c| 2002.;

300 a| xv, 207 pages :b| illustrations, music ;c| 25 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Contributions to the study of music and dance ;v| no. 61;

504 a| Includes bibliographical references (pages 185-195), discography (page 197), and index.;

505 00 g| Introduction: For women's eyes only? --t| Feminist aesthetics in music --g| Music in context and practice --t| The power of sound, the power of sex: Alma Schindler-Mahler's Ansturm --t| Sexing the subject of musical analysis: Rebecca Clarke and Elisabeth Lutyens --t| Meditations on feminist aesthetics: Anne Boyd's Cycle of Love --t| Framing the case for a feminist reading of Elena Kats-Chernin's postmodern Tast-en --t| Sexual signatures: feminist aesthetics in the music of Moya Henderson after the death of the author --g| This music which is between two.;

520 a| Is there such a thing as women's music? Do women write and listen to music differently than men do? While recognizing that the differences among women are as distinct as the differences between genders, this bold new study examines gender's influence on music. The author's unique analytical strategy shows, in its application to actual musical compositions, that there is a fluid relationship between the music and the analyst, between the text and the context, and that 20th-century music is inextricably bound to notions of gender that transcend aesthetics. Much of the work on women's music to date has failed to deal critically with the actual compositions, settling instead for more biographical or sociological approaches. In this respect, this work fills an important void. Using many concrete examples and careful analyses of the work of such undervalued composers as Alma Mahler-Werfel, Anne Boyd, and Moya Henderson, it grounds the abstract firmly, and fascinatingly, in the practical.;

650 0 a| Feminism and music.=| ^A273459;

650 0 a| Musicx| Philosophy and aesthetics.=| ^A18895;

830 0 a| Contributions to the study of music and dance ;v| no. 61.=| ^A466730;

994 a| X0b| ERE;

910 a| PromptCat;

980 a| 2002-01-16b| 62d| 4.03e| 62f| 957696;

596 a| 3;

998 a| 866126;

999 a| ML82 .M22 2002w| LCc| 1i| 30372011586093d| 5/3/2023e| 12/12/2022f| 2/22/2024g| 5l| MSTm| JMUSICn| 13p| $62.00q| 1r| Ys| Yt| MGESBKu| 1/31/2002x| BOOKz| MCIRCo| .STAFF. enhanced 10/23/20 -jmusictech, 6/22/22 -jjam/jjab;

Feminist aesthetics in music / Sally Macarthur.

Author/creator	Macarthur, Sally
Format	Book
Publication Info	Westport, CT : Greenwood Press, 2002.
Description	xv, 207 pages : illustrations, music ; 25 cm.
Subjects	Feminism and music. Music--Philosophy and aesthetics.

Series	Contributions to the study of music and dance ; no. 61 Contributions to the study of music and dance ; no. 61. ^A466730
Contents	Introduction: For women's eyes only? -- Feminist aesthetics in music -- Music in context and practice -- The power of sound, the power of sex: Alma Schindler-Mahler's Ansturm -- Sexing the subject of musical analysis: Rebecca Clarke and Elisabeth Lutyens -- Meditations on feminist aesthetics: Anne Boyd's Cycle of Love -- Framing the case for a feminist reading of Elena Kats-Chernin's postmodern Tast-en -- Sexual signatures: feminist aesthetics in the music of Moya Henderson after the death of the author -- This music which is between two.
Abstract	Is there such a thing as women's music? Do women write and listen to music differently than men do? While recognizing that the differences among women are as distinct as the differences between genders, this bold new study examines gender's influence on music. The author's unique analytical strategy shows, in its application to actual musical compositions, that there is a fluid relationship between the music and the analyst, between the text and the context, and that 20th-century music is inextricably bound to notions of gender that transcend aesthetics. Much of the work on women's music to date has failed to deal critically with the actual compositions, settling instead for more biographical or sociological approaches. In this respect, this work fills an important void. Using many concrete examples and careful analyses of the work of such undervalued composers as Alma Mahler-Werfel, Anne Boyd, and Moya Henderson, it grounds the abstract firmly, and fascinatingly, in the practical.
Bibliography note	Includes bibliographical references (pages 185-195), discography (page 197), and index.
LCCN	2001023329
ISBN	0313313202 (alk. paper)

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML82 .M22 2002	✔ Available	Place Hold

Feminist aesthetics in music / Sally Macarthur.

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