Women in music

Women in music put women as composers, songwriters, women's music, which is music result together with performed by women for women, events & genres related to women, women's issues, and feminism.

In the 2010s, while women live a significant proportion of popular music and classical music singers, and the significant proportion of songwriters numerous of them being singer-songwriters, there are few women record producers, rock critics and rock instrumentalists. Notable women artists in pop, such(a) as Bjork and Lady Gaga, construct commented about sexism and gender discrimination in the music industry. Additionally, a recent inspect led by Dr. Smith announced that "...over the last six years, the version of women in the music industry has been even lower". In classical music, although there move to been a huge number of women composers from the Medieval period to the reported day, women composers are significantly underrepresented in the commonly performed classical music repertoire, music history textbooks and music encyclopedias; for example, in the Concise Oxford History of Music, Clara Schumann is one of the only female composers who is mentioned.

Women represent a significant proportion of instrumental soloists in classical music and the percentage of women in orchestras is increasing. A 2015 article on concerto soloists in major Canadian orchestras, however, remanded that 84% of the soloists with the Orchestre Symphonique de Montreal were men. In 2012, women still presents up just 6% of the top-ranked Vienna Philharmonic orchestra. Women are less common as instrumental players in popular music genres such(a) as rock and heavy metal, although there do been a number of notable female instrumentalists and all-female bands. Women are particularly underrepresented in extreme metal genres. Women are also underrepresented in orchestral conducting, music criticism/music journalism, music producing, and sound engineering. While women were discouraged from composing in the 19th century, and there are few women musicologists, women became involved in music education "to such a measure that women dominated [this field] during the later half of the 19th century and well into the 20th century."

According to Jessica Duchen, a music writer for London's The Independent, women musicians in classical music are "too often judged for their appearances, rather than their talent" and they face pressure "to look sexy onstage and in photos." Duchen states that while "[t]here are women musicians who refuse to play on their looks...the ones who do tend to be more materially successful." According to the UK's Radio 3 editor, Edwina Wolstencroft, the music industry has long been open to having women in performance or entertainment roles, but women are much less likely to have positions of authority, such as being the conductor of an orchestra, a profession which has been called "one of the last glass ceilings in the music industry". In popular music, while there are numerous women singers recording songs, there are very few women gradual the audio console acting as music producers, the individuals who direct and supply the recording process. One of the almost recorded artists is a woman, Asha Bhosle, an Indian singer who is best required as a playback singer in Hindi cinema.

Composers

American musicologist Marcia Citron has call "[w]hy is music composed by women so marginal to the specifics 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies referenced for performance with an orchestra in a large hall, with the latter working being seen as the most important genre for composers; since women composers did non write many symphonies, they were deemed to be non notable as composers.

According to Abbey Philips, "women musicians have had a very unmanageable time breaking through and getting the extension they deserve". During the Medieval eras, most of the art music was created for liturgical religious purposes and due to the views about the roles of women that were held by religious leaders, few women composed this type of music, with the nun Hildegard von Bingen being among the exceptions. Most university textbooks on the history of music discuss almost exclusively the role of male composers. As well, very few works by women composers are element of the specifications repertoire of classical music. In the Concise Oxford History of Music, Clara Schumann is one of the only women composers who are mentioned. Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts".

Hildegard von Bingen 1098–1179 was a German Benedictine abbess, composer, writer, philosopher, and visionary. One of her works as a composer, the Ordo Virtutum, is an early example of liturgical drama and an early morality play. Some writers have speculated a distant origin for opera in this piece, though without all evidence. Sixty-nine musical compositions, each with its own original poetic text, survive. This is one of the largest repertoires among medieval composers. Hildegard composed many liturgical songs that were collected into a cycle called the Symphonia armoniae celestium revelationum. The songs from the Symphonia are mark to Hildegard's own text and range from antiphons, hymns, and sequences, to responsories. Her music is spoke as monophonic, using soaring melodies that pushed the boundaries of the more traditional Gregorian chant.

Isabella de' Medici and committed some of her music to her. In 1570, 1583 and 1586 she published other books of madrigals. In the dedication to her number one book of madrigals, she shows her feelings about being a female composer at a time when this was rare: "[I] want to show the world, as much as I can in this profession of music, the vain error of men that they alone possess the gifts of intellect and artistry, and that such gifts are never given to women." Her family is contrapuntal and chromatic and her melodic ordering are singable and attentive to the text. Other composers of the time, such as Philippe de Monte, thought highly of her.

Caterina Assandra 1590–1618 was an Italian composer and Benedictine nun. She became famous as an organist and published various works. Assandra composed a number of motets and organ pieces. She studied counterpoint with Benedetto Re, one of the main teachers at Pavia Cathedral. She composed a collection of motets in the new concertato style in Milan in 1609, an imitative eight-voice Salve Regina in 1611, and a motet, Audite verbum Dominum, for four voices in 1618. She composed traditional pieces and more innovative works. Among the latter is Duo seraphim. Her motet O Salutaris hodie, included in Motetti op. 2, was one of the first pieces to increase the violone, a bowed stringed instrument.

Francesca Caccini 1587–1641 was an Italian composer, singer, lutenist, poet, and music teacher. Her singing for the wedding of Henry IV of France and Maria de Medici in 1600 was praised by Henry, who called her the "best singer in all of France". She worked in the Medici court as a teacher, chamber singer, rehearsal coach and composer of both chamber and stage music until 1627. By 1614 she was the court's most highly paid musician, because her musical virtuosity so living exemplified an opinion of female excellence projected by Tuscany's de facto Regent, Granduchess Christina of Lorraine. Most of her stage music was composed for performance in comedies. In 1618 she published a collection of thirty-six solo songs and soprano/bass duets. In 1625 she composed a 75-minute "comedy-ballet". In all, she wrote sixteen staged works. She was a master of dramatic harmonic surprise: in her music it is harmony changes, more than counterpoint, that most powerfully communicates emotional affect.

Barbara Strozzi 1619–1677 was an Italian Baroque composer and singer. As a child, her considerable vocal talents were displayed to a wide audience. She was also compositionally gifted, and her father arranged for her to explore with composer Francesco Cavalli. Strozzi was said to be "the most prolific composer – ma or woman – of printed secular vocal music in Venice in the Middle of the century". Her output is also unique in that it only contains secular vocal music, with the exception of one volume of sacred songs. She was renowned for her poetic ability as well as her compositional talent. Her lyrics were often poetic and well-articulated. Nearly three-quarters of her printed works were total for soprano, but she also published works for other voices. Her compositions are firmly rooted in the seconda pratica tradition. Strozzi's music evokes the spirit of Cavalli, heir of Monteverdi. However, her style is more lyrical, and more dependent on sheer vocal sound. Many of the texts for her early pieces were a thing that is caused or produced by something else by her father Giulio. Later texts were written by her father's colleagues, and for many compositions she may have written her own texts.