By Denise von Von Glahn
For Denise Von Glahn, listening is that designated caliber afforded ladies who've been fettered for generations by means of the maxim "be obvious and never heard." In track and the Skillful Listener, Von Glahn explores the connection among listening and musical composition targeting 9 American ladies composers encouraged through the sounds of the wildlife: Amy seashore, Marion Bauer, Louise Talma, Pauline Oliveros, Joan Tower, Ellen Taaffe Zwilich, Victoria Bond, Libby Larsen, and Emily Doolittle. Von Glahn situates "nature composing" one of the better culture of nature writing and argues that, like their literary sisters, works of those girls convey deeply held non secular and aesthetic ideals approximately nature. Drawing on a wealth of archival and unique resource fabric, Von Glahn skillfully employs literary and gender stories, ecocriticism and ecomusicology, and the bigger international of latest musicological concept to inform the tales of 9 girls composers who search to appreciate nature via music.
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Additional resources for Music and the skillful listener : American women compose the natural world
Since this criterion was as important for inclusion in this study as having composed nature-related music at all, Lockwood was most regretfully removed from the study. I am hopeful that some other scholar will dive into her large catalogue of environmental works. They would have provided a lively counterpoint to other pieces I discuss. And so it is with dozens of other composers whose works could easily fill multiple volumes and nuance our understanding of how nature and music and humanity interact.
Their near absence in my book, however, was not the result of an obviously oppressive prescriptive tradition; I had, after all, chosen my subjects. 50 Was there an unheard chorus of women nature composers?
My thanks must go first to the composers whose music captured my imagination. ” They have enlarged my world. I hope that readers will find their way to the pieces that I discuss so that they too can be challenged, transported, and changed. I’m grateful to administrators, faculty colleagues, and graduate students at the Florida State University, College of Music, for encouraging my work. No one questioned me when I proposed courses on music and place in the early 2000s, or offered a doctoral seminar titled “Ecocriticism and Musicology” in spring 2006.