British Women Composers and Instrumental Chamber Music in the Early Twentieth Century
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A01=Laura Seddon
Author_Laura Seddon
Bechstein Hall
British female chamber music composers
British Woman Composer
Category=AVL
Category=AVLA
Category=AVR
Category=JBCC1
Category=JBSF1
Chamber Music
chamber music analysis
Chopin
Cobbett's Cyclopedic Survey
cobbetts
Cobbett’s Cyclopedic Survey
cyclopedic
early twentieth century Britain
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ethel
Feminist Musicology
form
gender studies in music
Gendering Musical Modernism
Granville Bantock
Grove Music Online
Instrumental Chamber Music
musicology research
Oxford Music Online
Phantasy Quartet
Piano Quintet
Piano Trio
Princesse De Polignac
quartet
Queen's Hall
Queen’s Hall
RCM.
smyth
Society of Women Musicians
sonata
Sonata Form
Sophie Fuller
St James's Hall
St James’s Hall
string
String Quartet
survey
Thomas Dunhill
Women Composers
women composers history
women's
Women's Music
Women's Volunteer Reserve
Women’s Music
Women’s Volunteer Reserve
Product details
- ISBN 9781138249639
- Weight: 453g
- Dimensions: 156 x 234mm
- Publication Date: 11 Oct 2016
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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This is the first full-length study of British women's instrumental chamber music in the early twentieth century. Laura Seddon argues that the Cobbett competitions, instigated by Walter Willson Cobbett in 1905, and the formation of the Society of Women Musicians in 1911 contributed to the explosion of instrumental music written by women in this period and highlighted women's place in British musical society in the years leading up to and during the First World War. Seddon investigates the relationship between Cobbett, the Society of Women Musicians and women composers themselves. The book’s six case studies - of Adela Maddison (1866-1929), Ethel Smyth (1858-1944), Morfydd Owen (1891-1918), Ethel Barns (1880-1948), Alice Verne-Bredt (1868-1958) and Susan Spain-Dunk (1880-1962) - offer valuable insight into the women’s musical education and compositional careers. Seddon’s discussion of their chamber works for differing instrumental combinations includes an exploration of formal procedures, an issue much discussed by contemporary sources. The individual composers' reactions to the debate instigated by the Society of Women Musicians, on the future of women's music, is considered in relation to their lives, careers and the chamber music itself. As the composers in this study were not a cohesive group, creatively or ideologically, the book draws on primary sources, as well as the writings of contemporary commentators, to assess the legacy of the chamber works produced.
Laura Seddon received her PhD from City University, London in February 2011, and continues to research in the area of gender and music. She is Director of the organisation Contemporary Connections which instigates musical projects combining historical research and contemporary compositional practice. She also teaches musicology and research/analytical skills.
