A Century of Composition by Women: Music Against the Odds

Contents

• Part 1 :
• 1. Synaesthetic Association and Gendered Nature Imagery: Female Agency in Three Piano Works by Amy Beach (1867-1934); Sabrina Clarke.
• 2. "Australian Bush Songs" as Multimodal Discource: The Remarkable Collaboration of Ida Rentoul Outhwaite, Annie Rentoul, and Georgette Peterson; Johanna Selleck.
• 3. The 1940s Australian Ballet that 'Far Outstripped... Swan Lake in Popular Appeal": Esther Rofe's Ground-Breaking ballet, Sea Legend; Emma Townsend.
• 4. Italians, Indians and Indigenous People: Innovative Themes and Materials Found in the Operas of Early Twentieth-Century Australian Women Composers; Jeanell Carrigan.
• 5. Helen Gifford's Fable (1967) for Harp: Composition "Exercise" or Miniature Masterpiece?; Jacinta Dennett.
• 6. The Approaching Prophet: The Revivification of the Colonial Piano Through a New Work by Cathy Miliken; Gabrielle Smart.
• 7. Dream House: Feminist Satire in Jennifer Walshe's XXX_Live_Nude_Girls!!!; Jaslyn Robertson.
• 8. Hildegard's Daughters: Women Composers Overcoming Their "Astonishment"; Natalie Williams.
• 9. Is the Category of the "Woman Artist" Still Helpful?; Susan Best.
• Part 2 : The State of The Classical/New Music Industry Today.
• 10. "Dear Women Composers in Australia (and Beyond)"; Rosalind Appleby.
• 11. Programming Orchestral Repertoire by Women Composers: Challenges and Opportunities; Joanna Drimatis.
• 12. Embracing the Voice of Female Composers: From Quantitative Studies to Action; Vanessa Tomlinson.
• 13. Troubleshooting Gender in the Australian Screen Music Industry: An Insider Perspective; Felicity Wilcox.
• 14. Programming with Gender Parity in Call-Based New Music Festivals; Alice Bennett.
• 15. Mentoring Emerging Women Composers; Maria Grenfell.
• 16. Content Targets Work: A Practical Example of Changing Behaviours and Processes in Programming Women Composers; Naomi Johnson and Matthew Dewey.
• 17. Working Towards Gender Equality and Empowerment in Australian Music Culture; Cat Hope.
• Part 3 : Creating, Collaborating: Composer and Performer Reflections.
• 18. The Book of Daughters and The Sonic aGender [sic] Guitar Projects: Inclusivity as Guiding Principle; Lisa MAcKinney.
• 19. Creating Something Personal: A Reflective Analysis of the Composition When We Speak for Solo Cello and Electroacoustic Track; Lisa Cheny.- "It Gently Makes Itself Known...": A Composer and a Violinist Discuss their Collaboration on Cranes; Phoebe Gre
• 21. Dreams, Layers, Obsessions: A Flautist's Role in Collaboration with Four Composers (Nomi Epstein, Jen Wang, Jenny Olivia Johnson, and Amanda Cole); Janet McKay.
• 22. Children's Opera in the Twenty-First Century: A Child-Centred Approach to Writing;Emma Jayakumar.
• 23. Making Music in a Chorus of Women; Gelnda Cloughley and Johanna McBride.