41,95 €
41,95 €
inkl. MwSt.
Sofort per Download lieferbar
payback
21 °P sammeln
41,95 €
41,95 €
inkl. MwSt.
Sofort per Download lieferbar

Alle Infos zum eBook verschenken
payback
21 °P sammeln
Als Download kaufen
41,95 €
inkl. MwSt.
Sofort per Download lieferbar
payback
21 °P sammeln
Jetzt verschenken
41,95 €
inkl. MwSt.
Sofort per Download lieferbar

Alle Infos zum eBook verschenken
payback
21 °P sammeln
  • Format: ePub

Drawing upon extensive archival research, interview material and musical analysis, Laura Hamer presents an innovative study of women working as professional musicians in France between the two World Wars. Hamer positions the activities, achievements and reception of women composers, conductors and performers against a contemporary socio-political climate that was hostile to female professionalism. The musical styles and techniques of Marguerite Canal, Jeanne Leleu, Germaine Tailleferre, Yvonne Desportes, Elsa Barraine and Claude Arrieu are discussed with reference to significant works dating from the interwar period.…mehr

  • Geräte: eReader
  • ohne Kopierschutz
  • eBook Hilfe
  • Größe: 1.24MB
Produktbeschreibung
Drawing upon extensive archival research, interview material and musical analysis, Laura Hamer presents an innovative study of women working as professional musicians in France between the two World Wars. Hamer positions the activities, achievements and reception of women composers, conductors and performers against a contemporary socio-political climate that was hostile to female professionalism. The musical styles and techniques of Marguerite Canal, Jeanne Leleu, Germaine Tailleferre, Yvonne Desportes, Elsa Barraine and Claude Arrieu are discussed with reference to significant works dating from the interwar period.


Dieser Download kann aus rechtlichen Gründen nur mit Rechnungsadresse in A, B, BG, CY, CZ, D, DK, EW, E, FIN, F, GR, HR, H, IRL, I, LT, L, LR, M, NL, PL, P, R, S, SLO, SK ausgeliefert werden.

Autorenporträt
Laura Hamer is Associate Professor of Music at Liverpool Hope University. She is interested in women in music, nineteenth- and earlier twentieth-century music, and criticism and reception studies. She is the editor of The Cambridge Companion to Women in Music since 1900 (forthcoming).