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Why is music composed by women so marginal to the standard 'classical' repertoire? In attempting to answer this fundamental question, this book examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works. Focusing on the tradition since 1800, Marcia J. Citron makes substantial use of feminist and interdisciplinary theory. After introducing the notion of canon and its role in cultural discourse, she explores important elements of canon formation: creativity, professionalism, music as gendered discourse, and reception. A final chapter provides a critique of many of these ideas with respect to the canon of the university music history curriculum. Professor Citron shows how an understanding of canon formation illuminates some of the basic issues that affect the discipline as a whole.

Tabla de contenidos provista por Syndetics

• Preface(p. xi)
• Introduction(p. 1)
• 1 Canonic issues(p. 15)
• 2 Creativity(p. 44)
• 3 Professionalism(p. 80)
• 4 Music as gendered discourse(p. 120)
• 5 Reception(p. 165)
• 6 The canon in practice(p. 190)
• Notes(p. 233)
• Bibliography(p. 277)
• Index(p. 295)

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CHOICE Review

Citron (Rice Univ.) has written a dense, carefully thought out, and amazingly thorough treatment of the ways in which the concept of a musical canon intersects with considerations of gender. Far from acquiring position on the basis of abstract principles of quality, the so-called canonic repertoire has reached its preeminence by means of a complex process that also involves social values, commercial factors, and critical reception. Until very recently this process worked to the virtual elimination from the canon of music by women, hence to a devaluation of the products of women's creativity. This process also tends to be self-perpetuating, as the music most often performed, recorded, and taught is drawn from the very canon whose values it then reinforces. The book's only weakness is its analysis of the C'ecile Chaminade sonata, which seems force-fit onto a model not suited to its unique qualities. Citron's reasoned voice speaks both originally and in images creatively drawn from a carefully documented wealth of interdisciplinary sources. Nor is Citron content merely to analyze the problem; she also suggests ways in which music by women can coexist with a canon that shows no signs of going away. Though not an easy literary pill to swallow, this is an important book that should prove enlightening especially to those who program and teach music. Advanced undergraduate and up. K. Pendle; University of Cincinnati