Laura Hamer - Böcker

The Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond provides a comprehensive exploration of women’s participation in musical leadership from the nineteenth century to the present. Global in scope, with contributors from over thirty countries, this book reveals the wide range of ways in which women have taken leadership roles across musical genres and contexts, uncovers new histories, and considers the challenges that women continue to face.The volume addresses timely issues in the era of movements such as #MeToo, digital feminisms, and the resurgent global feminist movements. Its multidisciplinary chapters represent a wide range of methodologies, with historical musicology, models drawn from ethnomusicology, analysis, philosophy, cultural studies, and practice research all informing the book. Including almost fifty chapters written by both researchers and practitioners in the field, it covers themes including:Historical PerspectivesConductors and ImpresariosWomen’s Practices in Music EducationPerformance and the Music IndustriesFaith and Spirituality: Worship and Sacred Musical PracticesAdvocacy: Collectives and Grass-Roots ActivismThe Routledge Companion to Women and Musical Leadership: The Nineteenth Century and Beyond draws together both new perspectives from early career researchers and contributions from established world-leading scholars. It promotes academic-practitioner dialogue by bringing contributions from both fields together, represents alternative models of women in musical leadership, celebrates the work done by women leaders, and shows how women challenge accepted notions of gendered roles. Offering a comprehensive overview of the varied forms of women’s musical leadership, this volume is a vital resource for all scholars of women in music, as well as professionals in the music industries and music education today.

Drawing upon extensive archival research, interview material, and musical analysis, Female Composers, Conductors, Performers: Musiciennes of Interwar France, 1919–1939 presents an innovative study of women working as professional musicians in France between the two World Wars. Hamer positions the activities, achievements, and reception of women composers, conductors, and performers against a contemporary socio-political climate that was largely hostile to female professionalism. The musical styles and techniques of Marguerite Canal, Jeanne Leleu, Germaine Tailleferre, Yvonne Desportes, Elsa Barraine, and Claude Arrieu are discussed with reference to significant works dating from the interwar period. Hamer highlights the activities of Jane Evrard and her Orchestre féminin de Paris as well as the reception of the Orchestra of the Union des Femmes Professeurs et Compositeurs de Musique, a contemporary pro-suffrage organisation that was dedicated to defending the collective interests of musiciennes and campaigning for their employment rights. Beyond women composers and conductors, Hamer also sheds light on female performers and their contribution to the interwar early music revival.

The city of Liverpool is renowned for its popular music, although the formidable hagiography which has developed around the Beatles tends to dominate historical considerations to the virtual exclusion of the many other varied genres which have flourished in the city before, during, and after them. Within Liverpool's popular-music past is a partially hidden history of women's musical leadership. This Element concerns the Grafton Rooms' bandleader, dancer, and pianist Mary Hamer (1904-1992). Hamer led the otherwise all-male dance band at the Grafton for two decades, providing dancers with first-class dance music. The Element considers Hamer within the rapidly evolving dance music culture of interwar Liverpool, and discusses the different genres and sub-genres of popular music and dance presented at the Grafton and the role(s) of women in popular music and as bandleaders. This is contextualised within the contemporary social anxieties of popular dance cultures, sexuality, faith, class, and race.

The city of Liverpool is renowned for its popular music, although the formidable hagiography which has developed around the Beatles tends to dominate historical considerations to the virtual exclusion of the many other varied genres which have flourished in the city before, during, and after them. Within Liverpool's popular-music past is a partially hidden history of women's musical leadership. This Element concerns the Grafton Rooms' bandleader, dancer, and pianist Mary Hamer (1904-1992). Hamer led the otherwise all-male dance band at the Grafton for two decades, providing dancers with first-class dance music. The Element considers Hamer within the rapidly evolving dance music culture of interwar Liverpool, and discusses the different genres and sub-genres of popular music and dance presented at the Grafton and the role(s) of women in popular music and as bandleaders. This is contextualised within the contemporary social anxieties of popular dance cultures, sexuality, faith, class, and race.

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.

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.