Addressing these deficits is not simply a matter of rectifying a scholarly gender imbalance: the lack of knowledge surrounding the music of women composers means that scholars, performers, and the general public remain unfamiliar with a large body of excitingrepertoire.Analytical Essays on Music by Women Composers: Concert Music, 1960-2000 is the first to appear in an exciting a four volume series devoted to the work of women composers across Western art music history. Moreover, while the number of performances, broadcasts, and recordings of women's compositions has unquestionably grown, they remain significantly underrepresented incomparison to music by male composers. Thisis particularly true in the domain of music theory, where scholarly work continues to focus almost exclusively on male composers. But detailed analysis and discussion of the works created by these composers are still extremely rare. ![]() The work concludes with an extensive reference section offering lists of Sources Consulted, a guide to relevant Libraries and Archives, an appendix listing artists and ensembles by idiom/occupation, and two detailed Author and Subject Indexes.Īnalytical essays on music by women composers: Concert music 1960-2000 (2016) by Laurel Parsons (Editor) Brenda Ravenscroft (Editor) Over the past 30 years, musicologists have produced a remarkable new body of research literature focusing on the lives and careers of women composers in their socio-historical contexts. Spanish-language sources are covered comprehensively, in particular dozens of locally published journals such as Bohemia, Carteles, Revolucion y Cultura, Revista Salsa Cubana, andTropicana Internacional, all indexed here for the first time, as well as the sizable international literature in English, French, and other European languages. It also provides sections on Afro-Cuban musical instruments, the music⿿ s influence abroad, and a biographical and critical component covering the lives and careers of more than 800 artists and ensembles. Cancion Cubana, Danzon, Son, Rumba, and Sacred Musics (Santeria, Palo, Abakua, and Arara), as well as such recent developments as timba, rap and regueton. Ranging from the 19th century to early 2009 it offers almost 5000 entries on all of the island⿿ s main genre families, e.g. This unprecedented bibliographic guide attempts to do just that. Unfortunately, no one has ever attempted to survey the extensive literature on the island⿿ s music, in particular the vernacular contributions of its Afro-Cuban population. From the ⿿ rhumba⿿ (son) craze of the 1920s and ⿿ 30s to mambo and cha-cha-cha in the 1950s and ⿿ 60s and the Buena Vista Social Club phenomenon of the late ⿿ 90s, Cuba has been central to popular music developments throughout the Caribbean, Latin America, the United States and Europe. ![]() Afro-Cuban Music (2012) by John Gray In spite of its relatively small size Cuba has had an inordinately large musical influence both inside the Caribbean and abroad.
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