1,069
Views
11
CrossRef citations to date
0
Altmetric
Articles

The Woman Composer, New Music and Neoliberalism

REFERENCES

  • Adkins Chiti, Patricia (2003a), ‘Cultural Diversity–Musical Diversity: A Different Vision-Women Making Music’, 1–9 (Accessed 1 February 2008), http://www.imc-cim.org/mmap/pdf/prod-chiti-e.pdf.
  • Adkins Chiti, Patricia (2003b), ‘Secret Agendas in Orchestral Programming’, 325–60 (Accessed 1 February 2008), http://www.culturegates.info/down/secret_agendas.pdf.
  • Allen, A.L. (2011), ‘Was I Entitled or Should I Apologize? Affirmative Action Going Forward’. Journal of Ethics15: 253–263.
  • Appleby, Roslyn (2012), ‘Anne Boyd: b. 1946’, in Women of Note: The Rise of Australian Women Composers. Freemantle, WA: Freemantle Press, 78–86.
  • Australian Bureau of Statistics (2013), (Accessed 25 April 2013), http://www.abs.gov.au/ausstats/[email protected]/Lookup/by+Subject/4125.0∼Jan+2012∼Main+Features∼Labour+force∼1110.
  • Barad, Karen (2007), Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke University Press.
  • Barad, Karen (2012), ‘Interview with Karen Barad’, in RickDolphin, and Irisvan der Tuin (eds.) New Materialism: Interviews & Cartographies. Open Humanities Press, 48–70, (Accessed 10 March 2013), http://openhumanitiespress.org/new-materialism.html.
  • Barbour, Charles (2012), The Marx Machine: Politics, Polemics, Ideology. Lanham: Lexington Books.
  • Bentley, Danielle (2009), ‘New Music: Is Anybody Out There?’. Music Forum15/3: 15–19.
  • Bentley, Danielle (2010), ‘The Restrung New Chamber Festival: Bridging the Gap Between High Art Music and Popular Sensibilities’. Unpublished paper, Queensland University of Technology, Brisbane.
  • Braidotti, Rosi (1994), Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory. New York: Columbia University Press.
  • Braidotti, Rosi (2000), ‘Teratologies’, in IanBuchanan, and ClaireColebrook (eds.) Deleuze and Feminist Theory. Edinburgh: Edinburgh University Press, 156–172.
  • Braidotti, Rosi (2002), Metamorphoses: Towards a Materialist Theory of Becoming. Cambridge: Polity Press.
  • Braidotti, Rosi (2006), Transpositions. Cambridge: Polity Press.
  • Braidotti, Rosi (2009), ‘Learning from the Future’. Australian Feminist Studies24/59: 3–10.
  • Butler, Judith (1999), The Psychic Life of Power: Theories in Subjection. Stanford, Calif.Stanford University Press.
  • Citron, Marcia J. (1993), Gender and the Musical Canon. Cambridge: Cambridge University Press.
  • Citron, Marcia J. (2004), ‘Feminist Waves and Classical Music: Pedagogy, Performance, Research’. Women & Music847–60.
  • Citron, Marcia J. (2007), ‘Women and the Western Art Canon: Where are we Now?’ Quarterly Journal of the Music Library Association64/2: 209–215.
  • NicholasCook, and AnthonyPople (eds.) (2004),The Cambridge History of Twentieth-Century Music. Cambridge, UK: Cambridge University Press.
  • Deleuze, Gilles (1994), Difference and Repetition. trans. Paul Patton. New York: Columbia University Press.
  • Deleuze, Gilles, and Guattari, Félix (1987), A Thousand Plateaus: Capitalism and Schizophrenia. trans. B. Massumi. Minneapolis: University of Minnesota Press.
  • Deleuze, Gilles, and Guattari, Félix (1994), What is Philosophy?tans. Hugh Tomlinson and Graham Burchell. New York: Columbia University Press.
  • Dines, Gail (2012a), ‘Porn and the Misogyny Emergency’. Overland20718–23.
  • Dines, Gail (2012b), ‘From the Personal is Personal to the Personal is Political: Neo-Liberalism and the Defanging of Feminism’., [lecture]. (Accessed 28 March 2013), http://www.youtube.com/watch?v = kDcTt0emXhE.
  • Fowler, Jennifer (2006/07), ‘Where are the Women?’. Music Forum13/1: 24–25.
  • Gilbert, Jeremy (2013), ‘What Kind of Thing is Neoliberalism?’. New Formations80/81: 7–22.
  • Goldmann, Stefan (2011), ‘Quality is Overrated: The Mechanics of Excellence in Music’. Little White Earbuds, [online] (Accessed 26 October 2013), http://www.littlewhiteearbuds.com/feature/quality-is-overrated-the-mechanics-of-excellence-in-music-pt-1/.
  • L.Heywood, and J.Drake (eds.) (1997), Third Wave Agenda: Being Feminist, Doing Feminism. Minneapolis: University of Minnesota Press.
  • AnnaHickey-Moody, and PetaMalins (eds.) (2007), Deleuzian Encounters: Studies in Contemporary Social Issues. Houndmills: Palgrave Macmillan.
  • Higgins, Paula (1993), ‘Women in Music, Feminist Criticism, and Guerilla Musicology: Reflections on Recent Polemics’. 19th Century Music27/2: 174–192.
  • Hirsch, Lisa (2008), ‘Lend Me a Pick Ax: The Slow Dismantling of the Compositional Gender’. New Music Box: The Web Magazine from the American Music Center (Accessed 14 May 2008), http://www.newmusicbox.org/article.nmbx?id = 5576.
  • Hisama, Ellie M. (2002), Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon. Cambridge: Cambridge University Press.
  • Johnson, J. (2002), Who Needs Classical Music? Cultural Choice and Musical Value. Oxford, UK: Oxford University Press.
  • Jones, Deborah (2010), ‘In the Key of Flat-out Major’. The Australian (24 April) (Accessed 3 April 2013), http://www.theaustralian.com.au/arts/composer-elena-kats-chernin-in-the-key-of-flat-out-major/story-e6frg8n6-1225855953871.
  • Kats-Chernin, Elena (2013), ‘Composer Biography: Boosey & Hawkes’, (Accessed 25 April 2013), http://www.boosey.com/composer/elena+kats-chernin.
  • Keenan, E.K. (2008), ‘Who Are You Calling a “Lady”?: Femininity, Sexuality, and Third Wave Feminism’. Journal of Popular Music Studies20/4: 378–401.
  • Kelly, Jennifer (2013), Email to IAWMLIST@unt on behalf of Jennifer Kelly (sent 20 April 2013).
  • Kramer, Lawrence (2007), Why Classical Music Still Matters. Berkeley and Los Angeles: University of California Press.
  • Kuspit, D. (2004), The End of Art. New York: Cambridge University Press.
  • Letts, Richard (2009), ‘It's (Dead) (Not-Dead)’. Music Forum15 (2), 22–24.
  • Macarthur, Sally (1997), ‘Feminist Aesthetics in Music: Politics and Practices in Australia’., PhD Thesis, University of Sydney.
  • Macarthur, Sally (2002), Feminist Aesthetics in Music. Westport: Greenwood Press.
  • Macarthur, Sally (2010), Towards a Twenty-First-Century Feminist Politics of Music. Farnham: Ashgate.
  • Macarthur, Sally (2012), ‘The Power of the Virtual in Music Scholarship: Composing a Woman's Musical Future as a “Becoming-Other-Than-Itself”’. Journal of Music Research Online1–13, (Accessed 23 April 2013) http://www.jmro.org.au/index.php/mca2.
  • McClary, Susan (1991), Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press.
  • McRobbie, Angela (2013), ‘Feminism, the Family and the New “Mediated” Maternalism’. New Formations80/81: 119–137.
  • Robert P.Morgan (ed.) (1993), Modern Times: From World War I to the Present. London: Macmillan Press.
  • Morse, Michael W. (2010), ‘Twenty Years After: A Review Essay of Musicological Identities’. International Association for the Study of Popular Music (Accessed February 2010), http://www.iaspm.net/?p = 96.
  • Pascall, Geraldine (1973), ‘Moya Gets the Go-ahead to Do a Voss Opera’. The Australian (November 29), 3.
  • Prügl, E. (2011), ‘Diversity Management and Gender Mainstreaming as Technologies of Government’. Politics and Gender7/1: 71–89.
  • Rieger, Eva (1992), ‘“I Recycle Sounds”: Do Women Compose Differently?’. Journal of the International League of Women Composers, March 1992, 22–25.
  • Rosen, Sherwin (1981), ‘The Economics of Superstars’. American Economic Review71845–858.
  • Ross, Alex (2007), The Rest is Noise: Listening to the Twentieth Century. New York: Farra, Straus and Giroux.
  • Rubin-Rabson, J. (1973), ‘Why Haven't Women Become Great Composers?’. High Fidelity/Musical AmericaXXIII/2: 47–50.
  • Seashore, Carl E. (c. 1947), In Search of Beauty in Music: A Scientific Approach to Musical Aesthetics. New York: Ronald Press.
  • Stagoll, Cliff (2005), ‘Difference’, in AdrianParr (ed.) The Deleuze Dictionary. Edinburgh: Edinburgh University Press, 72–73.
  • Van den Toorn, Peter C. (1995), Music, Politics, and the Academy. Berkeley and Los Angeles: University of California Press.
  • Weir, Allison (2013), Identities and Freedom: Feminist Theory Between Power and Connection. Oxford: Oxford University Press.
  • Wittman, A. (2010), ‘Looking Local, Finding Global: Paradoxes of Gender Mainstreaming in the Scottish Executive’. Review of International Studies36/1: 51–76.
  • Woolfe, Z. (2013), ‘With Pulitzer, She Became a Composer: Caroline Shaw Award-Winning Composer’. The New York Times (Accessed 20 April 2013) http://www.nytimes.com/2013/04/18/arts/music/caroline-shaw-award-winning-composer.html?pagewanted = all.
  • Workplace Gender Equality Act (2013), (Accessed 7 April 2013) http://www.wgea.gov.au/.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.