Women Classical Composers: A Sociological Perspective
Women composers throughout the centuries have written prolifically, but they have not been recognized as readily as their male counterparts. Ideally, there would be no need to separate the accomplishments of women from those of men. Judgments of merit should be based only on artistic ability. History shows that women have been composing since the third century, but inequities exist in society's recognition of their talent and creativity (LePage vii).
Women have been music makers for as long as men have, but their work, especially in composition, has gone unnoticed, unpublished, unperformed, and often forgotten. This unfortunate situation is due to the manner in which gender is construed, a process which has profoundly impacted women composers in Europe and in America for centuries. Gender-role stereotyping continues to be a social influence on women composers today. It is the purpose of this paper to discuss certain sociological influences on women musicians that have made their profession difficult. In particular, this paper examines the contributions of Hildegard of Bingen, Clara Schumann, and Nadia Boulanger, as well as other representative women composers. The paper will conclude with general implications of women in music and their acceptance as worthy creative artists practicing their chosen Profession.
Judith Zaimont notes various social influences on women's professional success as musicians. Sometimes geographic location plays an important role. The era during which a person lives-the-political, intellectual, cultural and social climate of the time--affects a woman's career (Zaimont 1987 xxiii). Personal and family situations, financial circumstances, and personality may make the difference between a success or a career behind the scenes. Some women composers conclude that marriage and a composing career are not compatible (Zaimont 1987 xxiv).
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