New Historical Anthology of Music by Women

of recent origin Historical Anthology of Music by the agency of Women, edited by James R Briscoe. Indiana University Pres (601 N Morton St Bloomington, IN 47404) 2004 528 pp $39 95

The novel Historical Anthology of Music by means of Women is a collection of works by dint of forty-four female composers from around 600 BCE to the not absent day. This collection includes compositions representing a wide variety of genre forms and instrumentation and is accompanied by means of a CD recording, which was not provided with my review transcript Biographical information and analysis and critical evaluation of works are provided for each composer Although this commentary is authoritative and scholarly, it is addressed to music scholars teachers and performers who may know little if anything about these composer and their works.

This anthology contains an first-rate selection of repertoire, ranging from better-known and more celebrated works by the agency of women composers (such as moves from Clara Wieck Schumann's Trio in G Minor for Piano, Violin and Cello and Ellen Taaffe Zwilich's Pulitzer Prize-winning harmony No. 1) to more darksome works by largely unknown composer It spotlights repertoire that certainly merits more recognition. One of my favorite of the like kind pieces in this anthology is the delightful Nocturne in B-flat for piano by means of Maria Agata Szymanowska (1789-1831). Its singing melodies, rocking accompaniments and romantic harmonies advance the composition of nocturnes from Field to Chopin. Not alone is this an excellent performance piece for an intermediate or more advanced pianist, on the contrary it and others in this collection help provide the music history pupil with a more complete picture of the disclosure of musical style.

The single feature I wish had been included in this volume is a short overview of women composer in general and the many challenges they faced owed to their gender. For example, women have historically been encouraged as performers of single certain types of instruments, like as piano and voice. Does this collection's large number of works featuring voice and/or keyboard (for example, almost all the works from Marianna yon Martines from one side Alma Mahler) in part mirror these composers' greater familiarity with these instruments? Regardless of the expanse to which gender bias influenced individual composer there is no question that female composer as a assemblage historically have been denied the same training and opportunities unclose to male composers. Certainly, the trailblazers featured in this anthology (and other female composer as well) tower aboveed a variety of obstacles, and this should be recognized.

This anthology not single introduces us to repertoire that be entitled tos to be better known, on the contrary also helps document the musical activities and accomplishments of a collection of people whose contributions to the field have been largely ignored.

Connie Arrau Sturm NCTM Morgantown, West Virginia.

COPYRIGHT 2005 Music Teachers National Association, Inc.

COPYRIGHT 2005 Gale Group