Recent scholarship has offered a veritable landslide of studies
about early modern women, illuminating them as writers, thinkers,
midwives, mothers, in convents, at home, and as rulers. Musical
Voices of Early Modern Women adds to the mix of early modern
studies a volume that correlates women's musical endeavors to their
lives, addressing early modern women's musical activities across a
broad spectrum of cultural events and settings. The volume takes as
its premise the notion that while women may have been squeezed to
participate in music through narrower doors than their male peers,
they nevertheless did so with enthusiasm, diligence, and success.
They were there in many ways, but as women's lives were
fundamentally different and more private than men's were, their
strategies, tools, and appearances were sometimes also different
and thus often unstudied in an historical discipline that primarily
evaluated men's productivity. Given that, many of these stories
will not necessarily embrace a standard musical repertoire, even as
they seek to expand canonical borders. The contributors to this
collection explore the possibility of a larger musical culture
which included women as well as men, by examining early modern
women in "many-headed ways" through the lens of musical production.
They look at how women composed, assuming that compositional gender
strategies may have been used differently when applied through her
vision; how women were composed, or represented and interpreted
through music in a larger cultural context, and how her presence in
that dialog situated her in social space. Contributors also trace
how women found music as a means for communicating, for
establishing intellectual power, for generating musical tastes, and
for enhancing the quality of their lives. Some women performed
publicly, and thus some articles examine how this impacted on their
lives and families. Other contributors inquire about the economics
of music and women, and how in different situations some women may
have been financially empowered or even in control of their own
money-making. This collection offers a glimpse at women from home,
stage, work, and convent, from many classes and from culturally
diverse countries - including France, Spain, Italy, England,
Austria, Russia, and Mexico - and imagines a musical history
centered in the realities of those lives.
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