Sources are the ones written on the outline. I will upload my outline and the one with the sources. Must follow my outlineexactly
Areas that the paper will explore via the prompt on Gauchospace:
The emergence of the musical canon, focusing on the music and reception of Ludwig
van Beethoven.
How the canon and “musical museum” have affected the music produced after
Beethoven and the ways in which later composers contend with its existence.
How did pervasive societal attitudes towards expectations of gender roles affect opportunity for admittance into the canon?
Intro:
Historical misrepresentation of female composers is prominent in the Western canon because of the dominant male presence during that time period. Even though a number of women composed music, societal attitudes about gender roles have resulted in a disproportionate representation. This dramatically decreased opportunities for admittance into the cannon. However, Fanny Mendelssohn Hensel, Clara Wieck Schumann, and Amy Beach were three such women composers who negotiated this gendered flaw. Some issues affecting their classical canon are access to musical education, private and public divide, and social factors that were carried behind gender expectations.
A lack of musical education and training for female composers made it difficult to keep up with their male counterparts. Males had more access to formal education.
Talking about the three female composers specifically
Why Schumann was considered lower middle class
All child prodigies
Hensel’s brother was equal in talent but he got the musical training that she was not allowed access to
Shumann, a child prodigy supervised by her father. Eventually married a male composer against father’s wishes
Beach: Prodigy, was restricted by husband
There was an obvious divide between private and public canon.
Examples: Piano girl and the piano trio. House music.
Symphonic music was unusual for women to write
Compared to Beehoveen (canon is mostly male. Beach is kind of an outlier) : canon is people like beethoven
“If her triumph could be instant; if work after work were not to be assailed, scoffed at, and rejected; if she were not liable to personal abuse, to the indifference in of her own sex on the one hand and masculine injustice on the other, there would be more hope for her success in composition: but instant triumphs are not rewards of great composers.” Upton 27
There were many social factors that contributed to the gender construct.
Modesty in performance
Marriages
Beach : husband died
Clara: performed a lot more after her husband died
Possible Readings: Underlined so I know the main source
Frisch, Music in the Nineteenth Century:
Concert Culture and the “Great” Symphony, 174-178 The Romantic Imagination, 13-22
Music and the Age of Metternich, 32-37
Franz Schubert, 42-45
The Opera Industry, 52-60
Robert Schumann and the Lied, 109-111
Fanny Mendelssohn Hensel and the Musical Salon, 85-87 Clara Wieck Schumann and the Keyboard, 87-90
Burkholder, “Museum Pieces: The Historicist Mainstream in Music of the Last Hundred Years,” 115-134:
Amy Beach, 753-755
Tick, “Passed Away is the Piano Girl: Changes in American Musical Life, 1870-1900” 325-345
Temple, “Composers, Performers, and Consent” (primary source) Upton, Woman in Music, 15-32 (primary source)
Bibliography
Upton, George P. Woman in Music. Chicago: A.C McClurg and Company, 1895.
ONLY READING LIST. YOU. CAN CHOOSE FROM
Reading:
Frisch, Music in the Nineteenth Century
Concert Culture and the “Great” Symphony, 174-178 The Romantic Imagination, 13-22
Music and the Age of Metternich, 32-37
Franz Schubert, 42-45
The Opera Industry, 52-60
Robert Schumann and the Lied, 109-111
Fanny Mendelssohn Hensel and the Musical Salon, 85-87 Clara Wieck Schumann and the Keyboard, 87-90
Goehr, The Imaginary Museum of Musical Works
“After 1800: The Beethoven Paradigm,” excerpts, 205-208
Burkholder, “Museum Pieces: The Historicist Mainstream in Music of the Last Hundred Years,” 115-134
Amy Beach, 753-755
Spitzer and Zaslow, The Birth of the Orchestra.
“Corelli’s Orchestra,” 105-106 “Corelli’s Career,” 115-117
“Venues and Performances, 118-123”
Tick, “Passed Away is the Piano Girl: Changes in American Musical Life, 1870-1900” 325-345
Temple, “Composers, Performers, and Consent” (primary source) Upton, Woman in Music, 15-32 (primary source)
(NOTE: You need not, and in fact SHOULD NOT, use all of these sources – they are simply the sources available to you. Use whichever best suit the tack you take for this paper)
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