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Women in music describes the role of women as composers, songwriters, instrumental performers, singers, conductors, music scholars, music educators, music critics/music journalists and other musical professions. As well, it describes music movements, events and genres related to women, women's issues and feminism. In the 2010s, women comprise a significant proportion of popular music and classical music singers, and a significant proportion of songwriters (many of them being singer-songwriters). Although there have been a huge number of women composers in classical music, from the Medieval period to the present day, women composers are significantly underrepresented in the commonly performed classical music repertoire, music history textbooks and music encyclopedias; for example, in the ''Concise Oxford History of Music'', Clara Schumann is one of the only female composers who is mentioned. Women comprise a significant proportion of instrumental soloists in classical music and the percentage of women in orchestras is increasing. A 2015 article on concerto soloists in major Canadian orchestras, however, indicated that 84% of the soloists with the Orchestre Symphonique de Montreal were men. In 2012, women still made up just 6% of the top-ranked Vienna Philharmonic orchestra. Women are less common as instrumental players in popular music genres such as rock and heavy metal, although there have been a number of notable female instrumentalists and all-female bands. Women are particularly underrepresented in extreme metal genres.〔Julian Schaap and Pauwke Berkers. "Grunting Alone? Online Gender Inequality in Extreme Metal Music" in ''Journal of the International Association for the Study of Popular Music''. Vol.4, no.1 (2014) p. 103〕 Women are also underrepresented in orchestral conducting, music criticism/music journalism, music producing, and sound engineering. While women were discouraged from composing in the 19th century, and there are few women musicologists, women became involved in music education "...to such a degree that women dominated (field ) during the later half of the 19th century and well into the 20th century."〔http://parlorsongs.com/issues/2002-9/thismonth/feature.php〕 According to Jessica Duchen, a music writer for London’s ''The Independent'', women musicians are "...too often judged for their appearances, rather than their talent" and they face pressure "...to look sexy onstage and in photos."〔music.cbc.ca/#!/blogs/2014/3/Classical-musics-shocking-gender-gap〕 Duchen states that while "()here are women musicians who refuse to play on their looks,...the ones who do tend to be more materially successful."〔 According to the UK's Radio 3 editor, Edwina Wolstencroft, the music industry has long been open to having women in performance or entertainment roles, but women are much less likely to have positions of authority, such as being the leader of an orchestra.〔http://www.theguardian.com/music/2015/feb/28/why-male-domination-of-classical-music-might-end〕 In popular music, while there are many women singers recording songs, there are very few women behind the audio console acting as music producers, the individuals who direct and manage the recording process.〔 ==Songwriters== A songwriter is an individual who writes the lyrics, melodies and chord progressions for songs, typically for a popular music genre such as pop music or country music. A songwriter can also be called a composer, although the latter term tends to be mainly used for individuals from the classical music genre. "Only a few of the many women () in America had their music published and heard during the late 19th and early 20th centuries."〔 According to Richard A. Reublin and Richard G. Beil, the "...lack of mention of women () is a glaring and embarrassing omission in our musical heritage."〔 Women "...struggled to write and publish music in the man's world of 20th century Tin Pan Alley. Prior to 1900 and even after 1900, it was expected that "...women would perform music, not make music."〔 In 1880, Chicago music critic George P. Upton wrote, ''Women In Music'', in which he argued that "...women lacked the innate creativity to compose good music" due to "biological predisposition".〔 Later, it was accepted that women would have a role in music education, and they became involved in this field "...to such a degree that women dominated music education during the later half of the 19th century and well into the 20th century."〔 The "secular music in print in America before 1825 shows only about 70 works by women." In the mid 19th century, notable women songwriters emerged, including Faustina Hasse Hodges, Susan Parkhurst, Augusta Browne and Marion Dix Sullivan. By 1900, there were many more women songwriters, but "....many were still forced to use pseudonyms or initials" to hide the fact that they were women.〔 Carrie Jacobs-Bond is the "...preeminent woman composer of the late 1800's and well into the middle of the twentieth century,...(her ) the first million selling woman" songwriter.〔 Maude Nugent (1877–1958) wrote "Sweet Rosie O'Grady" in 1896. She also penned "Down At Rosie Reilly's Flat", "My Irish Daisy" and "Mary From Tipperary".〔 Charlotte Blake (1885–1979) was a staff writer for at the Whitney Warner Publishing Co., in Detroit, Michigan. Initially, the company billed her as "C. Blake", but by 1906 ads used her full name.〔 Caro Roma (1866–1937) was the gender-ambiguous pseudonym for Carrie Northly. She "...was one of America's more well known and popular composers of the Tin Pan Alley era." Her songs include "Can't Yo' Heah Me Calling", "Faded Rose", "The Angelus", "Thinking of Thee" and "Resignation".〔 About 95% of the songwriters in British music hall during the early 1900s were men; however, about 30% of the singers were women.〔John Mullen. The Show Must Go On! Popular Song in Britain During the First World War. Ashgate Publishing, Ltd., 2015〕 While jazz songwriting has long been a male-dominated field, there have been a few notable women jazz songwriters. In the 1930s, Ann Ronell (1905–1993) wrote several hit songs. She is known for her 1932 hit song "Willow Weep for Me" and the 1933 Disney song "Who's Afraid of the Big Bad Wolf?".〔Irene Higginbotham (1918–1988) wrote almost 50 songs, her best-known being "Good Morning Heartache".〔Ted Gioia. "Five women songwriters who helped shape the sound of jazz" in ''Oxford University Press Blog''. 12 March 2013. Available at: http://blog.oup.com/2013/03/jazz-women-songwriters-gioia/ Accessed on 15 October 2015〕 Dorothy Fields (1905–1974) wrote the lyrics for over 400 songs, some of which were played by Duke Ellington. She co-wrote "The Way You Look Tonight" with Jerome Kern, which won the 1936 Oscar for Best Song. She co-wrote several jazz standards with Jimmy McHugh, such as "Exactly Like You," “On the Sunny Side of the Street" and "I Can't Give You Anything But Love."〔 Lil Hardin Armstrong (1898–1971) played piano in King Oliver's Creole Jazz Band. Her most famous song, "Struttin' with Some Barbecue" has been recorded 500 times. Her other notable songs are "Doin' the Suzie Q," “Just for a Thrill" and "Bad Boy".〔 While Billie Holiday (1915–1959) is best known as a singer, she co-wrote "God Bless the Child" and "Don't Explain" with Arthur Herzog, Jr. and she penned the blues song "Fine and Mellow."〔 In the 1960s pop music scene, "()ike most aspects of the...music business, (the 1960s, ) songwriting was a male-dominated field. Though there were plenty of female singers on the radio, women ...were primarily seen as consumers:... Singing was sometimes an acceptable pastime for a girl, but playing an instrument, writing songs, or producing records simply wasn’t done." 〔http://www.rebeatmag.com/music-history-primer-3-pioneering-female-songwriters-of-the-60s/〕 Young women "...were not socialized to see themselves as people who create ()."〔Carole King "...had a successful songwriting partnershi() with husband Gerry Goffin, penning hits like "The Loco-Motion," “Will You Love Me Tomorrow", "Up on the Roof" and "Natural Woman". "King was the first female recipient of the 2013 Gershwin Prize for Popular Song."〔 Ellie Greenwich and her husband Jeff Barry wrote "Then He Kissed Me",“Be My Baby" and "River Deep, Mountain High". Laura Nyro penned "Wedding Bell Blues", "Eli's Coming" and "And When I Die". She stated "I'm not interested in conventional limitations when it comes to my songwriting….I may bring a certain feminist perspective to my songwriting."〔 In musical theatre, "...female songwriters are rare in an industry dominated by males on the creative end. Work by male songwriters is more often produced, and it was only (2015 ) that an all-female writing team made history by winning the Tony Award for Best Score." In 2015, for the first time, an all-female writing team of Lisa Kron (Best Book) and Jeanine Tesori and Kron (Best Original Score) won the Tony Award for Best Score for ''Fun Home'', although work by male songwriters continues to be produced more often.〔Gioia, Michael. ("It's Revving Up" – The Next Generation of Female Songwriters Share Their Hopes for the Future" ), ''Playbill'', 2 August 2015〕 In 2013, Cyndi Lauper was the "first female composer to win the (for ) Best Score without a male collaborator" for writing the music and lyrics for ''Kinky Boots''.〔 Notable female songwriters in musical theatre include singer-songwriter and actress Lauren Pritchard, who wrote ''Songbird'', Zoe Sarnak, who wrote ''A Lasting Impression'' and ''The Years Between'' and Katie Thompson, who would like to "...see women characters...that are complicated and strong and vulnerable." Thompson stated that in the musical theatre industry, "...when you fight for something as a woman, especially an artistic thing ..you are either perceived as being a bitch or you are perceived () 'emotional'", a label that enables others to dismiss you.〔 According to LaShonda Katrice Barnett, a college and university teacher and author of a book on black women songwriters, of the "... over 380 members of the Songwriters Hall of Fame, just 2 are black women (Sylvia Moy and Valerie Simpson)". Barnett asks "()hy are there so few prominent black women songwriters?"〔http://www.songfacts.com/blog/writing/black_women_songwriters/〕 Barnett states that two important black women songwriters are Abbey Lincoln, a rare example of a jazz singer who wrote her own albums and Cassandra Wilson, who records both her own songs and "covers" of famous artists.〔 Below is a selection of notable songwriters. Many of these individuals are singer-songwriters who also famous for their singing and/or instrumental performance skills, but they are listed here for their accomplishments in songwriting: *Tori Amos *Mariah Carey *Carol Kaye *Ani DiFranco *Carole King *Joni Mitchell *Stevie Nicks *Nina Simone 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Women in music」の詳細全文を読む スポンサード リンク
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