Article Conference
English
ID: <
50|dedup_wf_001::58c1c3cd90ffaf749da11db386ac7f2f>
·
DOI: <
10.7202/012764ar>
Abstract
Since the 70s, there is a will to give female musicians visibility and recognition within musical history. If the music composed by women is today subject to feminist’s theory, debates and advocacy to push this issue forward, it is surprising that their works are seldom performed in concert in Quebec in terms of number and modality of distribution. Giving the importance of the sociocultural environment, that impact the perceptions on the women composer’s capacities, the author offers an analysis of Société de musique contemporaine du Québec (SMCQ), Événements du neuf (E9), Ensemble contemporain de Montréal (ECM+), and Nouvel Ensemble moderne (NEM) concerts produced between 1966 and 2006, which aims to describe the participation of women composers and shed a light on their practices related to the presence of women in concerts. Providing an original contribution to the feminist studies in music, the author describes new music organisms’ role by producing thematic concert, commissioning musical pieces and organizing composition contests, and she discusses their limits in women integration.