Breaking the gender and identity boundaries of the symphonic form during the 20th century and beyond

打破20世纪及以后交响乐形式的性别和身份界限

• 批准号: 2858940
• 金额: --
• 依托单位: Kingston University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2858940
• 关键词: Breaking; gender; identity; boundaries; symphonic

The symphony is a renowned form of orchestral classical music, and notably all symphonies within the canon are those by men. It is an art form affiliated with masculinity, and critically interpreted as something male composers use to express and shape their identity. Recently, there has been attention paid to symphonies composed by women, two being performed at the BBC Proms, 2021. However, there is a severe lack of representation of symphonic works composed by women in the concert hall, history books, education and society more widely. Critics including Marcia Citron and Judith Butler recognise that male voices and creativity have traditionally been legitimised, whilst women's have been devalued. This lack of representation has significant consequences for female artists, and gender equality.This research will assess the symphonic works by three important twentieth century composers, Ruth Gipps (1921-1999), Ina Boyle (1889-1967), and Florence Price (1887-1953). They have, until recently, been largely overlooked. Growing interest has shown their significant contribution to the symphony, and their impact on feminism in music. Through a thorough analysis of archival material relating to their compositions and backgrounds, the research aims to raise their profiles, highlighting their ability to shape identity through symphonic form. Contemporaneous reviews and press coverage attempted to mould and delegitimise these women's identities by comparing their music, in particular the symphonies, to their male symphonic counterparts. How can understanding these composers' challenges help women today? This research will demonstrate how their symphonic works reflect class, gender, heritage, and personal identities. It will argue for the importance for woman composers, highlight ways moving forward for contemporary musicians, and significantly widen our understanding of the symphony. Moreover, it will add greater contributions to fair gender identityrepresentation, how patriarchy is mobilised in notions of taste, and how this links to understandings of gender today.

交响乐是一种著名的管弦乐古典音乐形式，值得注意的是，所有的交响乐都是由男人创作的。它是一种与男性气质相关的艺术形式，并被批判性地解释为男性作曲家用来表达和塑造他们的身份。最近，人们开始关注女性创作的交响乐，其中两首将在2021年的BBC逍遥音乐会上演出。然而，在音乐厅、历史书籍、教育和社会更广泛的层面上，女性创作的交响乐作品严重缺乏代表性。包括Marcia Citron和Judith Butler在内的评论家承认，男性的声音和创造力在传统上是合法的，而女性的声音和创造力则被贬低。本研究将评估二十世纪三位重要作曲家的交响乐作品，露丝·吉普斯（1921-1999），伊娜·波义耳（1889-1967）和佛罗伦萨·普莱斯（1887-1953）。直到最近，它们在很大程度上被忽视了。越来越多的兴趣显示了他们对交响乐的重大贡献，以及他们对音乐中女性主义的影响。通过对与他们的作品和背景有关的档案材料进行深入分析，研究旨在提高他们的形象，突出他们通过交响乐形式塑造身份的能力。当时的评论和新闻报道试图通过将这些女性的音乐，特别是交响乐与男性交响乐进行比较来塑造和否定她们的身份。了解这些作曲家的挑战如何帮助当今的女性？这项研究将展示他们的交响乐作品如何反映阶级，性别，遗产和个人身份。它将论证女性作曲家的重要性，突出当代音乐家的前进道路，并大大拓宽我们对交响乐的理解。此外，它将为公平的性别身份代表，父权制如何在品味概念中动员，以及如何将其与今天的性别理解联系起来做出更大的贡献。