The "reception and perception of women composers" (Tweets about Women Composers, part 2)

Cécile Chaminade wonders when she'll be heard on
the radio as often as Maurice Duruflé.

Hello, and welcome to part 2 of our recent discussion on Twitter about women composers in history. If you want to see what prompted the conversation, check out part 1, in which musicologists point out that, just because you haven't heard of woman composers at a particular time, doesn't mean they didn't exist.

Again, I've chosen to embed the Tweets rather than transcribe them so you may interact with them if you'd like.

As the conversation went on, "symphonic rabble rouser" Emily E. Hogstad had a substantial amount to say:

Thinking about the reception and perception of female composers after reading several interesting threads starring @K_Leonard_PhD @MWilsonKimber @LindaHyphen and others... 1/?

— Emily E Hogstad (@song_of_lark) December 19, 2017

I loved this observation by @MWilsonKimber. Even an amateur historian like me can attest: this is SO TRUE, and you can see it simply by reading about historical musical women or (better yet) consulting old newspapers. 3/? pic.twitter.com/B796aBprjC

— Emily E Hogstad (@song_of_lark) December 19, 2017

The most striking example I've personally come across was this Amy Beach Minneapolis Symphony review from 1917, which I tweeted earlier this year. 4/? pic.twitter.com/ZtjZfaRk9y

— Emily E Hogstad (@song_of_lark) December 19, 2017

If we've never heard of women composers from past centuries, does that mean they didn't exist? (Tweets about Women Composers, part 1)

Amy Beach, an actual woman composer of the 19th century!

Hello, everyone! This blog post is going to be in a different format due to a recent, complicated, multi-threaded Twitter discussion. Since there's no platform that organizes Twitter threads as intuitively as the human brain, I'm going to do my best to untangle them here. I chose to embed the Tweets so you can explore some of the branches I've left out, if you so desire. However, the post is so long that I'm going to have to break it into two parts! Here we go:

It began with musicologist Kendra Leonard asking a music history account about their OTDs ("On This Date"):

Hey @musihist, what happened OTD in music history that isn't about a man? How about tomorrow? And the day after that?

— (((Kendra Leonard))) (@K_Leonard_PhD) December 15, 2017

Follow us and find out.

— MusicandHistory (@musihist) December 15, 2017

Since Dec 1, you've posted more than 150 tweets. Only two are about women. That's a terrible ratio. https://t.co/8Uq1C94YtP

— (((Kendra Leonard))) (@K_Leonard_PhD) December 18, 2017

We can't change the fact that until very recently, women in western music were discouraged from pursuing composition. But we try to make known those who did, and are, creating great works.

— MusicandHistory (@musihist) December 18, 2017

And THERE is the myth! Dr. Leonard summoned me:

.@LindaHyphen want to take on the fallacious argument here that this site/account can't post equally about women because of biased historiography? https://t.co/kfbl7osESZ

— (((Kendra Leonard))) (@K_Leonard_PhD) December 18, 2017

Note: She used my personal Twitter handle (@LindaHypen) instead of the one I use only for this blog (@MusHistCliches). Feel free to follow this account for musicological discussions like this one, but be aware that I also tweet about my cancer, my son, and my cat.

Like many myths, it is based on a bit of truth: Women have historically been discouraged from composing. (Unfortunately, this continues today, for reasons that will be explained by someone else later in this post.) I've even gotten into a different Twitter discussion about this, with Fanny Mendelssohn Hensel as the prime example.

Just as women in general have been encouraged to focus on domestic matters and not work outside the home, they were discouraged from seeking advanced training in composition because it would distract from their household responsibilities. As Abraham Mendelssohn told his daughter Fanny, "for you [music] can and must only be an ornament, never the basis of your being and doing."

So, what makes this a myth?