Analytical Essays on Music by Women Composers: Concert Music, 1960–2000. Ed. by Laurel Parsons and Brenda Ravenscroft.
2017; Oxford University Press; Volume: 98; Issue: 3 Linguagem: Inglês
10.1093/ml/gcx080
ISSN1477-4631
Autores Tópico(s)Musicology and Musical Analysis
ResumoIn early 2017, Christine Lemke-Matwey vented her anger in Die Zeit about the choice of Pierre-Laurent Aimard as winner of the Ernst von Siemens Music Award, a prestigious international prize for musicians, composers, and music scholars (www.zeit.de/kultur/musik/2017-01/siemens-musikpreis-pierre-laurent-aimard-frauen-quote, accessed 27 Apr. 2017). Although a distinguished pianist and ambassador for contemporary music, he was a typical and conservative choice, she claimed, a choice that publicly and unnecessarily perpetuated male dominance in music. Naming several female performers, composers, and musicologists who would be equally deserving, Lemke-Matwey reminded her readers that in the forty-four years since its foundation, only one woman had ever been awarded the main prize (violinist Anne Sophie Mutter in 2008). Although not wholly insensitive to the potential damage her article might do to other award holders, the awarding institution, and even those female musicians who had been nominated, the author held the two women on the jury responsible for not making their voices heard more effectively. The recent history of this prize, we might argue, is a powerful symbol of the continued significance of the glass ceiling in music.
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