This volume presents fifteen musicological perspectives on the creativity of women composers and the question of 'femininity' in Southeastern-European musical cultures from 1918 on. In the questions about and beyond a 'female aesthetics', socio-cultural approaches to the lives of creative women prove to be indispensable for contemporary musicological gender research, because highly complex facts of musical life and social realities in political systems cannot be separated from each other. By this means the exclusion and marginalization of women composers in the national and international music establishment, as well as strategies for overcoming these systems, are made visible and brought to consciousness. This volume therefore focusses on the social, cultural, and biological preconditions of cultural action, and intends to arouse curiosity for multi-layered realities; it aims to increase the reception of the compositional oeuvre of women composers from Southeastern Europe by the global music scene, the musicological discourse, and an engaged audience.

Throughout history women have been composing music, but their achievements have usually gone unrecognized.

This book presents accounts of creative processes and contextual issues of current-day and early-twentieth century women composers. This collection of essays balances narratives of struggle, artistic prowess, and of "breaking through" the obstacles in the profession. Part I: Creative Work – Then and Now illuminates historical and present-day women’s composition and various iterations and conceptions of the “feminine voice”; Part II: The State of the Industry in the Present Day provides solutions from the frontline to sector inequities; and Part III: Creating; Collaborating: Composer and Performer Reflections offers personal stories of current creation in music. A Century of Composition by Women: Music Against the Odds draws together topical issues in feminist musicology over the past century. This volume provides insight into the professional and compositional procedures of creative women in music and stands to be relevant for composers, performers, industry professionals, students, and feminist and musicological scholars for many years to come.

Ezell critically examines these successful women's literary histories and applies to them the same self-conscious feminism that critics have applied to more traditional methods. Drawing both on French feminisms and on recent historicist scholarship, Ezell points us to new possibilities for the recovery of early modern women's literary history. By championing the recovery of "lost" women writers and insisting on reevaluating the past, women's studies and feminist theory have effected dramatic changes in the ways English literary history is written and taught. In Writing Women's Literary History, Margaret Ezell critically examines these successful women's literary histories and applies to them the same self-conscious feminism that critics have applied to more traditional methods. According to Ezell, by relying not only on past male scholarship but also on inherited notions of "tradition," some feminist historicists replicate the evolutionary, narrative model of history that originally marginalized women who wrote before 1700. Drawing both on French feminisms and on recent historicist scholarship, Ezell points us to new possibilities for the recovery of early modern women's literary history.

In Composing Selves, award-winning author Peggy Whitman Prenshaw provides the most comprehensive treatment of autobiographies by women in the American South. This long-anticipated addition to Prenshaw's study of southern literature spans the twentieth century as she provides an in-depth look at the life-writing of eighteen women authors. Composing Selves travels the wide terrain of female life in the South, analyzing various issues that range from racial consciousness to the deflection of personal achievement. All of the authors presented came of age during the era Prenshaw refers to as the "late southern Victorian period," which began in 1861 and ended in the 1930s. Belle Kearney's A Slaveholder's Daughter (1900) with Elizabeth Spencer's Landscapes of the Heart and Ellen Douglas's Truth: Four Stories I Am Finally Old Enough to Tell (both published in 1998) chronologically bookend Prenshaw's survey. She includes Ellen Glasgow's The Woman Within, Marjorie Kinnan Rawlings's Cross Creek, Bernice Kelly Harris's Southern Savory, and Zora Neale Hurston's Dust Tracks on a Road. The book also examines Katharine DuPre Lumpkin's The Making of a Southerner and Lillian Smith's Killers of the Dream. In addition to exploring multiple themes, Prenshaw considers a number of types of autobiographies, such as Helen Keller's classic The Story of My Life and Anne Walter Fearn's My Days of Strength. She treats narratives of marital identity, as in Mary Hamilton's Trials of the Earth, and calls attention to works by women who devoted their lives to social and political movements, like Virginia Durr's Outside the Magic Circle. Drawing on many notable authors and on Prenshaw's own life of scholarship, Composing Selves provides an invaluable contribution to the study of southern literature, autobiography, and the work of southern women writers.

Women’s Music for the Screen: Diverse Narratives in Sound shines a long-overdue light on the works and lives of female-identifying screen composers. Bringing together composer profiles, exclusive interview excerpts, and industry case studies, this volume showcases their achievements and reflects on the systemic gender biases women have faced in an industry that has long excluded them. Across 16 essays, an international array of contributors present a wealth of research data, biographical content, and musical analysis of film, television, and video game scores to understand how the industry excludes women, the consequences of these deficits, and why such inequities persist – and to document women’s rich contributions to screen music in diverse styles and genres. The chapters amplify the voices of women composers including Bebe Barron, Delia Derbyshire, Wendy Carlos, Anne Dudley, Rachel Portman, Hildur Guðnadóttir, Mica Levi, Winifred Phillips, and more. From the mid-twentieth century to the present, and from classic Hollywood scores to pioneering electronic music, these are the stories and achievements of the women who have managed to forge successful careers in a male-dominated arena. Suitable for researchers, educators, and students alike, Women’s Music for the Screen urges the screen music industry to consider these sounds and stories in a way it hasn’t before: as voices that more accurately reflect the world we all share.