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Aisling Kenny and Susan Wollenberg, eds. Women and the Nineteenth-Century Lied (Farnham, Surrey: Ashgate, 2015). xxiv+275 pp. $124.95

Published online by Cambridge University Press:  06 December 2016

Laura K.T. Stokes
Laura K.T. Stokes*
Affiliation:
Brown Universitylaura_stokes@brown.edu
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Type
Book Reviews
Information
Nineteenth-Century Music Review , Volume 14 , Issue 2 , August 2017 , pp. 253 - 258
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Copyright
© Cambridge University Press 2016 

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References

1 For example, Citron, Marcia J., ‘Gender, Professionalism, and the Musical Canon’, The Journal of Musicology 8/1 (Winter 1990): 102–117 CrossRefGoogle Scholar; Reich, Nancy, Clara Schumann: The Artist and the Woman (Ithaca, NY: Cornell University Press, 1985)Google Scholar; and Bowers, Jane and Tick, Judith, Introduction to Women Making Music: The Western Art Tradition, 1150–1950 (Urbana: University of Illinois Press, 1986)CrossRefGoogle Scholar.

2 Iitti, Sanna, The Feminine in German Song (New York: Peter Lang, 2006)Google Scholar, especially Chapter 4 ‘The Feminine as Gendered Chaos: Social and Psychological Forces’, pp. 93–145.

3 For example, on pp. 20–21, ‘ihr’, in the original ‘wir in ihr gegenwärtig vieles Gereiftere …’, indicates ‘it’ (the publication) rather than ‘her’ (the composer); or p. 38, where the triplet configuration begins in bar 38, not 37.