Women in music describes the role of women as composers, songwriters, instrumental performers, singers, conductors, music scholars, music educators, music critics/music journalists and other musical professions. As well, it describes music movements, events and genres related to women, women's issues and feminism. In the 2010s, while women comprise a significant proportion of popular music and classical music singers, and a significant proportion of songwriters (many of them being singer-songwriters), there are few women record producers, rock critics and rock instrumentalists. Although there have been a huge number of women composers in classical music, from the Medieval period to the present day, women composers are significantly underrepresented in the commonly performed classical music repertoire, music history textbooks and music encyclopedias; for example, in the Concise Oxford History of Music, Clara Schumann is one of the only female composers who is mentioned.
Women in music may refer to:
Women in Music was an American newsletter founded in July 1935 by its publisher and editor, Frédérique Petrides, then the conductor of the Orchestrette Classique – an orchestra based in New York made-up of all women musicians. The publication ran until December 1940. The thirty-seven extant issues have been reprinted in the 1991 book by Jan Bell Groh, Evening the Score: Women in Music and the Legacy of Frédérique Petrides. The newsletter title Women in Music was coined in 1935 by Petrides's husband, journalist, Peter Petrides to encapsulate the gist of its contents.
Women in Music was founded in the summer of 1935 for the purpose of enlightening the public with little-known historical facts and current developments pertaining to women conductors, composers, instrumentalists, singers and women-led orchestras. Its scope was not limited to contemporary musicians – it chronicled the activities of women musicians from Ancient Egyptian times to the then present.
Women in (E)motion is an album by American folk singer Odetta, released in 2002. It was recorded live for the Women In (E)motion Festival in Bremen, Germany in 1990.
All songs Traditional unless otherwise noted.
2014 was described as a watershed year for women's rights, by newspapers such as The Guardian. It was described as a year in which women's voices acquired greater legitimacy and authority.Time magazine said 2014 "may have been the best year for women since the dawn of time". However, The Huffington Post called it "a bad year for women, but a good year for feminism". San Francisco writer Rebecca Solnit argued that it was "a year of feminist insurrection against male violence" and a "lurch forward" in the history of feminism, and the The Guardian said the "globalisation of protest" at violence against women was "groundbreaking," and that social media had enabled a "new version of feminist solidarity."
Denise Balkissoon, writing in The Globe and Mail, disagreed with and criticized the view that 2014 marked a "watershed" moment and that "some collective 'we' has finally had enough", citing her ongoing concerns regarding a "broken system" with respect to violence against women.United Nations' Special Rapporteur on Violence Against Women, Rashida Manjoo, said that violence against women "is acknowledged as a pervasive and widespread human rights violation" and that as of 2014, "no single country can claim that there is progressive elimination occurring".