Awards

• Winner of Winner of the 2017 IAWM Pauline Alderman Award Winner of the Society for Music Theory Outstanding Multi-author Collection award 2017.
• Winner of Winner of the Society for Music Theory Outstanding Multi-author Collection award 2017.

Overview

Full Product Details

Author:   Laurel Parsons ,  Brenda Ravenscroft (Professor of Music Theory and Dean of the Schulich School of Music, Professor of Music Theory and Dean of the Schulich School of Music, McGill University)
Publisher:   Oxford University Press Inc
Imprint:   Oxford University Press Inc
Dimensions:   Width: 23.10cm , Height: 2.00cm , Length: 15.50cm
Weight:   0.425kg
ISBN:  

9780190665814

ISBN 10:   0190665815
Pages:   258
Publication Date:   16 November 2017
Audience:   College/higher education ,  Postgraduate, Research & Scholarly
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of Contents

"Acknowledgments About the Companion Website Chapter 1. Introduction Laurel Parsons and Brenda Ravenscroft PART I Order, Freedom and Design Chapter 2. Ursula Mamlok, Panta Rhei, Third Movement (1981) ""Twelve Tone in My Own Way"": An Analytical Study of Ursula Mamlok's Panta Rhei, Third Movement, with Some Reflections on Twelve-Tone Music in America Joseph N. Straus Chapter 3. Norma Beecroft, Improvvisazioni Concertanti No. 1 (1961) Improvvisazioni Concertanti No. 1 by Norma Beecroft: Serialism, Improvisatory Discourse, and the Musical Avant-Garde Christoph Neidhöfer Chapter 4. Joan Tower, Silver Ladders (1986) ""Octatonicism,"" the Octatonic Scale, and Large- Scale Structure in Joan Tower's Silver Ladders Jonathan W. Bernard PART II Gesture, Identity and Culture Chapter 5. Sofia Gubaidulina, String Quartet No. 2 (1987) ""Difference Inhabits Repetition"": Sofia Gubaidulina's String Quartet No. 2 Judy Lochhead Chapter 6. Chen Yi, Symphony No. 2 (1993) The Transformative Power of Musical Gestures: Cultural Translation in Chen Yi's Symphony No. 2 Nancy Yunhwa Rao PART III Music, Words and Voices Chapter 7. Kaija Saariaho, ""The claw of the magnolia..."" From the Grammar of Dreams (1988) Superposition in Kaija Saariaho's ""The claw of the magnolia..."" John Roeder Chapter 8. Libby Larsen, Chanting to Paradise (1997) Music as a Mirror: Libby Larsen's Chanting to Paradise Brenda Ravenscroft Chapter 9. Elisabeth Lutyens, Essence of Our Happinesses (1968) This Imaginary Halfe-Nothing: Temporality in Elisabeth Lutyens's Essence of Our Happinesses Laurel Parsons Glossary Bibliography Index"

Reviews

"""To some, the statistics quoted at the beginning of Analytical Essays on Women Composers may seem startling. The paucity of analytical articles discussing music by women -- a mere 1.51 percent in eight noteworthy music theory and analysis journals -- would seem inexplicable from any vantage point that regards diversity as a factor worthy of consideration. Editors Laurel Parsons and Brenda Ravenscroft are respected in the field and have made efforts with their scholarship, and with this volume, to bridge the divide. While the essays vary in difficulty, making the target audience somewhat variable, there are readings suited to keeping both undergraduate and graduate students, as well as their instructors and researchers, amply diverted ... [T]he book's figures and examples are well engraved to explicate concepts, and the aforementioned inclusion of online recordings is an excellent accompaniment to those visual elements ... This is a valuable and long overdue book."" -- Tempo"

To some, the statistics quoted at the beginning of Analytical Essays on Women Composers may seem startling. The paucity of analytical articles discussing music by women -- a mere 1.51 percent in eight noteworthy music theory and analysis journals -- would seem inexplicable from any vantage point that regards diversity as a factor worthy of consideration. Editors Laurel Parsons and Brenda Ravenscroft are respected in the field and have made efforts with their scholarship, and with this volume, to bridge the divide. While the essays vary in difficulty, making the target audience somewhat variable, there are readings suited to keeping both undergraduate and graduate students, as well as their instructors and researchers, amply diverted ... [T]he book's figures and examples are well engraved to explicate concepts, and the aforementioned inclusion of online recordings is an excellent accompaniment to those visual elements ... This is a valuable and long overdue book. -- Tempo

To some, the statistics quoted at the beginning of Analytical Essays on Women Composers may seem startling. The paucity of analytical articles discussing music by women -- a mere 1.51 percent in eight noteworthy music theory and analysis journals -- would seem inexplicable from any vantage point that regards diversity as a factor worthy of consideration. Editors Laurel Parsons and Brenda Ravenscroft are respected in the field and have made efforts with their scholarship, and with this volume, to bridge the divide. While the essays vary in difficulty, making the target audience somewhat variable, there are readings suited to keeping both undergraduate and graduate students, as well as their instructors and researchers, amply diverted ... [T]he book's figures and examples are well engraved to explicate concepts, and the aforementioned inclusion of online recordings is an excellent accompaniment to those visual elements ... This is a valuable and long overdue book. -- Tempo

Author Information

"Laurel Parsons, Ph.D., is a music theorist who has taught at the University of Victoria, University of British Columbia, Queen's University, and the University of Oregon. Her research interests include post-tonal music by Elisabeth Lutyens, Elizabeth Maconchy, and Danish electroacoustic composer Else-Marie Pade, representation of Inuit poetry in late 20th-century Canadian and British music, and post-secondary music pedagogy for students with learning differences. She has published articles on Lutyens's music in Theory & Practice and Canadian University Music Review, and on aural skills pedagogy for students with dyslexia in Music Theory Online. In addition, she has contributed chapters to Arctic Discourses (Cambridge Scholars Press, 2010) and British Modernism and Music 1895-1960 (Ashgate, 2010). From 2012 to 2015, she chaired the Society for Music Theory's Committee on the Status of Women. Brenda Ravenscroft, Ph.D., is Associate Professor of Music Theory and Associate Dean of Teaching and Learning in the Faculty of Arts and Science at Queen's University. Her research focuses on post-tonal American music, text and music, rhythmic organization, the music of South African composer Priaulx Rainier, and pedagogy in higher education. In addition to articles on music by Elliott Carter, John Cage and Lou Harrison in such journals as Music Analysis, Perspectives of New Music, and Music Theory Spectrum, she has contributed a chapter on Carter's vocal music to Elliott Carter Studies (Cambridge University Press, 2012) and authored the ""Case Study on Music Analysis"" in The Flipped College Classroom (Springer, 2015). She chaired the Society for Music Theory's Committee on the Status of Women from 2006 to 2009."

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