Abstract and Keywords
This article examines the prejudices that women continue to experience in the field of composition in the twenty-first century. More specifically, it analyzes the host of factors that may be responsible for this reality from three perspectives: the notion that the language of modernist music is a gendered discourse, the role of precedent in the acceptance of women composers, and the role of societal stereotypes. The article looks at Catherine Parson Smith’s contention that the use of sexual linguistics has been detrimental to women artists during the modernist era; the various contexts that gave rise to the political positioning of the musical language of modernism; how stereotypes about artistic women affect the creativity and output as well as the professional behavior of women composers. Finally, it offers suggestions for overcoming the obstacles that prevent contemporary women composers from receiving due recognition.
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