Viviana D’Alterio, Second-year student, BA (Hons) Music
The CoASSH Equality, Diversity and Inclusion (EDI) Student Bursary Award
Hello! I’m Viviana, a second-year student originally from Italy. I moved to the UK in 2022 to pursue my passion for music by enrolling in the Music course at the University of Lincoln. While my primary goal is to become a music therapist, another dream of mine is to compose music for animated movies. I’m deeply passionate about exploring diverse cultures and styles, which is why I am fond of learning languages and immersing myself in different artistic expressions. I firmly believe that the arts, with its inherent freedom of expression, should always be a safe environment for all individuals to explore and create without judgement.
I picked the subject of recognition of women composers as I feel that in most industries women tend to be under recognised and not taken seriously. During my studies I gradually realised the predominance of male composers in our lectures and song selections. This realisation hit me particularly during a module on the History of Popular Music, where we delved into the topic of women’s rights in music-making. The issue of gender discrimination resonated even more deeply during a lecture on music and genre in another module, Music in Society, which directly inspired my project. Moreover, this semester, my research has focused on women’s conditions and gender roles, with a particular emphasis on the Victorian era in the UK. As a result, I concluded that this was a serious matter to work on and that this bursary scheme was the perfect occasion for me to share some awareness about the subject matter. I hope that one day women composers will get more visibility and that we will live in a more equal world.
Research
As many researchers have shown in their works the role of women in music is a projection of the role of women in society in general (Gibson, 1985, 51). Edvenson’s thesis delves into the history of women’s involvement in music, highlighting the challenges and progress over the centuries. In ancient Greece, women lacked citizenship rights but found avenues for musical expression in religious settings. However, societal norms restricted their roles and opportunities. During mediaeval times, women began to participate in music within courtly contexts, primarily as entertainers. However, they were often limited to certain instruments and styles, and their involvement was largely to please male audiences. For a long time, women were not allowed to perform; young boys or castrati would sing higher parts instead. It was only during the 17th and 18th centuries that women started to be allowed in Operas. Being good at music for women gradually became a social accomplishment, and whilst they received music education as part of their curriculum to be considered “potential wives”, they could only play at home and entertain the family. They had limited options in the choice of their instruments and were expected to play in specific ways as they needed to be considered graceful and feminine. From the 20th century they started to be allowed in schools to teach music and had to fight to have their works performed. Only with World War II women started to be allowed into orchestras and started getting more recognition as they needed to replace men that were atwar (Edvenson, 2017, 2-4).
Other authors such as Nora Gibson (1985) and Matthew Scott Johnson (2005) also highlighted the role of women in music composition as very limited, due to social conventions and very strict rules about their role. During the Victorian age scientists even proved that women could not access further education as that would render them infertile and not able to breastfeed; according to scientists of the time females were biologically not built to be at the same intellectual level of man as they needed to keep the energies to be able to reproduce (Lewis, 1984, 83-84). The history of women rights in society and especially in music-related settings is probably the main reason why women in composition are overlooked and under-recognised. It is also important to notice that women composers are rarely mentioned in history of music textbooks which leads to ignorance about women in compositions even for people with music education (Johnson, 2005, 1-2). Another element that stuck out from my research was the fact that, because women were expected to play in specific ways, it was harder for them to be recognised. Double standards and stereotypes about “feminine” and “masculine” music started to get created. Those mainly defined strong, aggressive, clear and logical music as “masculine” and weak, delicate, emotional, and imaginative music as “feminine”, putting a gradual detrimental note on the “feminine music” (Edvenson, 2017, 8-12).
Finally, it seems that the main reasons why women are not as recognised as much as men as composers are social roles and stereotypes that were created throughout history. Despite some improvements in women’s recognition in the music industry, they still struggle to have their music performed and acknowledged, and maintaining a career in music remains challenging. Networking is especially difficult for women in male-dominated environments, and many end up pausing their composing endeavours to focus on family responsibilities (Hannekam et al., 2019, 4-10). The ongoing struggle for women in the music industry mirrors historical challenges where choosing a career path could jeopardise perceptions of one’s womanhood (Gibson, 1985, 51). Even with greater freedom today, women still face judgement if they prioritise careers over family or seek to balance both.
Fanny Mendelssohn’s life vividly portrays the challenges encountered by women composers. Despite her remarkable talent, societal norms restricted her from pursuing music professionally. Discouraged by her family and the prevailing expectations of her time, she struggled to publish her compositions under her own name, leading to a loss of confidence. Fanny’s story underscores the barriers faced by women in the arts due to gender biases and emphasises the importance of fostering a more inclusive environment for creative expression (Gibson, 1985, 51-52).
In my research, I also explored primary sources like The John Johnson Collection, particularly examining music titles to understand how male and female composers were represented. What I found was numerous pamphlets featuring compositions by men (see figures 1 and 2), while none spotlighted women composers. While I didn’t scrutinise every pamphlet, and the archive doesn’t extend to the present day, I conducted thorough searches across different historical periods, including specific inquiries into women composers. Despite these efforts, the absence of pamphlets dedicated to women’s compositions remained notable.
Figure 1
Figure 2
Artwork creation
To create my artwork, I conducted a survey involving both music-trained individuals and those without music education. I selected 16 male and female composers based on rankings from various websites that listed the most famous composers in Western culture. From these, I chose 10 classical composers and 6 film music composers, as these were the genres most commonly associated with composers. I hypothesised that while many participants would recognize the names of male composers, few if any would recognize the names of female composers, especially among those without music training. The results (as depicted in figures 3, 4, 5, and 6) aligned with my expectations.
After collecting the answers, I created a table that summed all the results and set the threshold to define who would qualify as a “famous composer”. My criterion for this was that a minimum of 10 people out of 20 (X≥10) needed to recognise the composers to define them famous. In my artwork (see the image at the top of the page), I depicted composers’ pictures in colour if they were recognised by enough participants to meet the threshold, and in black and white if they were not. Notably, all female composers’ pictures are in black and white, indicating that none were recognised sufficiently to be deemed famous while most male composers’ pictures are coloured (12/16). Clara Schumann was the only composer that almost reached the threshold (7/20), being primarily recognised among music-trained individuals. However, the majority of female composers were known by fewer than 5 participants, and 8 out of 16 were not recognised at all.
During the data collection, some participants recognised female composers’ surnames as being “someone’s wife”, while others assumed female composers were male if only their surnames were provided. Unfortunately, despite the inclusion of first names, some participants still assumed the composers were male. These observations underscore the pervasive gender biases present in perceptions of composers’ identities.
Figure 3
Figure 4
Figure 5
Figure 6
Conclusion
This project sheds light on the systemic reasons behind the under-recognition of women composers, both historically and in contemporary times. Social constraints, traditional gender roles, and the expectation for women to choose between a career and family have played significant roles in hindering their recognition and advancement in the field of composition. Additionally, women often face limited confidence in their abilities, stemming from a culture where men predominantly make decisions and tend not to take women seriously. Moreover, the risk of facing sexual harassment or being objectified can deter women from pursuing careers in the arts and composition. This fear is aggravated by pervasive instances of women being hired based on their appearance rather than their talent or merit, particularly in media and performing arts settings.
While this project and others have highlighted the disparity between male and female composers, future studies should also consider non-binary individuals in the music industry. Furthermore, the perpetuation of stereotypes that label certain musical styles or genres as “feminine” or “masculine” is not only harmful to women but also restricts creative expression for composers of all genders. These double standards have likely influenced compositional styles over the years, limiting artistic expression not only for women, but for everyone. Recognizing and addressing these issues is essential for encouraging a more inclusive and equitable environment for all composers.
While this project focuses specifically on music composition, it underscores the broader issue of women’s under-recognition and marginalisation across various sectors. By raising awareness and challenging gender stereotypes, we can create a more inclusive and supportive environment where the talents of women composers can truly shine, free from restrictive labels and biases. This would not only benefit women but every individual, encouraging them to create free from societal limits. Finally, boosting recognition of female composers in music education is essential for fairness and diversity. We can achieve this by including more works by women in textbooks and giving students a wider range of music to learn and perform. This way, everyone’s contributions are valued and celebrated in music education.
Reference list:
Big Think. (n.d.). 10 of the greatest classical composers of all time. [online] Available at:
https://bigthink.com/high-culture/classical-music-composer-ranking/.
Big Think. (n.d.). Who were the greatest female classical composers in music history? [online]
Available at: https://bigthink.com/high-culture/female-classical-composers/.
Classic FM. (n.d.). 10 greatest film composers of all time. [online] Available at:
https://www.classicfm.com/discover-music/periods-genres/film-tv/best-movie-composers/.
Classic FM. (n.d.). 15 women film composers at the top of the industry, and their greatest
soundtracks so far. [online] Available at:
https://www.classicfm.com/discover-music/periods-genres/film-tv/women-movie-composers-so
undtracks/.
Edvenson, A. (2017). Gender and music: Can we hear a difference between female and male
composers and performers?
Gibson, N. (1985). Women Composers of Keyboard Music: An Historical Overview. American
Music Teacher, [online] 35(2), pp.51–54. Available at: https://www.jstor.org/stable/43541033
[Accessed Apr. 2024].
Hennekam, S., Bennett, D., Macarthur, S., Hope, C. and Goh, T. (2019). An International
Perspective on Managing a Career as a Woman Composer. International Journal of Arts
Management, [online] 21(3), pp.4–13. Available at: https://www.jstor.org/stable/45221723
[Accessed Apr. 2024].
Johann sebastian bach [shelfmark: Music titles 4 (82)] (1932). Oxford University Press, 36
Soho Square, Oxford Street, W.1, London. Retrieved from
https://proxy.library.lincoln.ac.uk/pamphlets-ephemeral-works/johann-sebastian-bach-shelfmar
k-music-titles-4-82/docview/2823563610/se-2
Johnson, M. (2017). The Recognition of Female Composers. Agora, [online] 2005(2005).
Available at: https://digitalshowcase.lynchburg.edu/agora/vol2005/iss2005/9/.
Lewis, J. (1984). Women in England 1870-1950: sexual divisions and social change. Brighton:
Wheatsheaf; Bloomington.
The emperor napoleon’s march across the alps [shelfmark: Music titles 4 (72); compare music
titles 4 (71)] Brewer & Co., 23 Bishopsgate St. Within, E.C., London. Retrieved from
https://proxy.library.lincoln.ac.uk/pamphlets-ephemeral-works/emperor-napoleons-march-acros
s-alps-shelfmark/docview/2823553741/se-2
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