https://orcid.org/0000-0002-6641-9440
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Notes
1 Broad’s latest academic publication is the article ‘Approaching Incidental Music: “Reflexive Performance” and Meaning in Till Damaskus (III)’ (Broad Citation2022).
2 Molleson’s book also tells the stories of overlooked twentieth-century composers; six women and four men.
4 See Wood (Citation1995, 634) and ‘Famous Suffragette Honoured’ (Citation1930).
5 See, for example, Peirson-Hagger (Citation2023).
6 This brief list includes writers who are not specialists in women’s music, such as bell hooks and Alex Ross.
7 See Kertesz (Citation2001). Wiley’s work on Smyth includes Wiley (Citation2004).
8 For further information about Zigler’s research, see https://amyzigler.wordpress.com/.
9 When Woodforde-Finden’s music was programmed in 1925 by the BBC alongside that of Smyth, Clarke, and Howell, Broad describes her as a ‘lesser-known composer’ (p. 248). However, in the 1920s, Woodforde-Finden’s songs—particularly her Four Indian Love Lyrics (1902)—were known and sung throughout the Western world (see Fuller Citation1994, 343–44). Describing another concert two years later, Broad depicts the composers Dora Bright (1862–1951) and Edith Swepstone (1862–1942) as ‘rising stars,’ despite the fact that both women were in their sixties and had been composing and being performed for decades (p. 248).
10 Smyth gives no details of Howell’s work, simply remarking: ‘Why, for instance, is there no mention, in the new “Grove,” of Dorothy Howell, composer and Professor at the Royal Academy of Music?’ (Smyth Citation1928b, 49).
11 On the Macnaghten–Lemare concerts, see Fuller (Citation2013).
Additional information
Notes on contributors
Sophie Fuller
Sophie Fuller’s research interests centre around gender, sexuality, and music in Britain in the nineteenth, twentieth, and twenty-first centuries. Author of The Pandora Guide to Women Composers (Pandora Press, 1994), she has published widely on women’s engagement with music and music-making. Sophie has co-edited two essay collections, Queer Episodes in Music and Modern Identity with Lloyd Whitesell (University of Illinois Press, 2002) and The Idea of Music in Victorian Fiction with Nicky Losseff (Ashgate Publishing, 2004), as well as editing, with Jenny Doctor, Music, Life, and Changing Times: Selected Correspondence between British Composers Elizabeth Maconchy and Grace Williams, 1927–1977 (Routledge, 2020). She currently works at Trinity Laban Conservatoire of Music and Dance (London, UK) where she is Professor of Gender Studies in Music.