The Cambridge Companion to Women in Music since 1900 Cambridge Companions to Music Series

This Companion explores women's work in music since 1900 across a broad range of musical genres and professions, including the classical tradition, popular music, and music technology. The crucial contribution of women to music education and the music industries features alongside their activity as composers and performers. The book considers the gendered nature of the musical profession, in areas including access to training, gendered criticism, sexualization, and notions of 'gender appropriate' roles or instruments. It covers a wide range of women musicians, such as Marin Alsop,  Grace Williams, Billie Holiday, Joni Mitchell and Adele. Each thematic section concludes with a contribution from a practitioner in her own words, reflecting upon the impact of gender on her own career. Chapters include suggestions for further reading on each of the topics covered, providing an invaluable resource for students of Feminist Musicology, Women in Music, and Music and Gender.

List of Figures; List of Tables; Notes on Contributors; Preface Laura Hamer; List of Abbreviations; Part I. The Classical Tradition: 1. Women in Composition before the Second World War Sophie Fuller; 2. Women in Composition During the Cold War in Music Rhiannon Mathias; 3. Behind the Iron Curtain: Female Composers in the Soviet Bloc Elaine Kelly; 4. Still Exceptional? Women in Composition Approaching the Twenty-First Century Astrid Kvalbein; 5. On the Podium: Women Conductors Laura Hamer; 6. Soloists and Divas: Evolving Opportunities, Identity, and Reception Francesca Placanica; In Her Own Words: Practitioner Contribution 1 – Elizabeth Hoffman; Part II. Women in Popular Music: 7. Most of My Sheroes Don't Appear on a Stamp: Contextualising the Contributions of Women Musicians to the Progression of Jazz Tammy L. Kernodle; 8. Leaders of the Pack: Girl Groups of the 1960s Jacqueline Warwick; 9. Women and Rock Leah Branstetter; 10. (You Make Me Feel Like a) Natural Woman: Women in Songwriting Katherine Williams; 11. The British Folk Revival: Mythology and the 'Non-Figuring' and 'Figuring' Woman Michael Brocken; 12. How MTV Idols Got Us In Formation: Solo Women and their Brands Make Space for Truth Telling, Trauma, and Survival in Popular Music from 1981 to the Present Kristin J. Lieb; In Her Own Words: Practitioner Contribution 2 – Virginia Kettle; Part III. Women and Music Technology: 13. Case Studies of Women in Electronic Music: The Early Pioneers Louis Niebur; 14. The Star-Eaters: A 2019 Survey of Female and Gender Non-Conforming Individuals Using Electronics for Music Margaret Schedel and Flannery Cunningham; In Her Own Words: Practitioner Contribution 3 – Manuella Blackburn; Part IV. Women's Wider Work in Music: 15. Women and Music Education: Pedagogues, Curricula, and Role Models Robert Legg; 16. Women in the Music Industries: The Art of Juggling Clare K. Duffin; In Her Own Words: Practitioner Contribution 4 – Steph Power; Afterword: Challenges and Opportunities: Ways Forward for Women Working in Music Victoria Armstrong; Appendix: Survey Questions for Chapter 14; Select Bibliography; Index.

Laura Hamer is Staff Tutor and Lecturer in Music at the Open University. She is the author of Female Composers, Performers, Conductors: Musiciennes of Interwar France, 1919–1939 (2018) and co-editor, with Helen Julia Minors, of The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond (forthcoming).