« Since the eighteenth century, the piano has afforded women the potential to attain mobility and visibility, to exploit public mouthpieces such as journalism and technological media, to secure financial independence, and to make (often controversial) decisions in their personal lives. Yet, in popular readers such as Schonberg’s The Great Pianists (rev. 1983, 2006), Dubal’s The Art of the Piano (1989, 2004) and Mach’s Great Contemporary Pianists Speak for Themselves (1980 & 1988/1991), men vastly outnumber women, and those women are often European or American. Scholarly studies reproduce this bias (e.g. Hellaby 2013). Existing biographies of women pianists, e.g. of Novaes or Haskil, tend to be stylistic studies or hagiographical. Rieger and Steegmann’s 1996 Frauen mit Flügel is an important contribution but offers only biographical sketches.
This conference seeks to broaden out – historically and geographically – the discourse surrounding professional women pianists between 1848 and 1970. These years witnessed sustained interest in public piano performance, both onstage and in recording, against a backdrop of socio-political and technological change, from the 1848 revolutions, through two World Wars, to the decline of imperialism and the rise of second-wave feminism. »
Date limite de soumission : 1er novembre 2022.
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