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Tatjana Goldberg reveals the extent to which gender and socially constructed identity influenced female violinists' 'separate but unequal' status in a great male-dominated virtuoso lineage by focussing on the few that stood out: the American Maud Powell (1867-1920), Australian-born Alma Moodie (1898-1943), and the British Marie Hall (1884-1956). Despite breaking down traditional gender-based patriarchal social and cultural norms, becoming celebrated soloists, and greatly contributing towards violin works and the early recording industry (Powell and Hall), they received little historical recognition. Goldberg provides a more complete picture of their artistic achievements and the impact they had on audiences.
Table des matières
1. She wants to play the violin!; 2. The 'angelic' counterparts; 3. Maud Powell: I must carry a message as long as I am able; 4. Marie Pauline Hall: transcending limitations; 5. Alma Moodie: from praise to oblivion; 6. Virtuose's shared experiences towards the hall of fame
A propos de l'auteur
Tatjana Goldberg started learning the violin in Croatia, and later went to study violin at the Moscow State Tchaikovsky Conservatoire. In 2016 she was awarded her PhD from City, University of London. She teaches the violin at City, University of London, Middlesex University, the Purcell School, and the Youth Music Centre in London. She has a broad experience as a performer and writer.
Résumé
Tanja Goldberg reveals the extent to which gender and socially constructed identity influenced female violinists’ ‘separate but unequal’ status in a great male-dominated virtuoso lineage, by focussing on the few that stood out. Goldberg provides a more complete picture of their artistic achievements and the impact they had on audiences.
