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Authors
Abstract(s)
Esta tesis busca ahondar en el papel que desempeñan las mujeres en la música, y en especial las compositoras que han escrito para percusión solista. Un papel que se sabe que no ha sido equiparado normalmente -por razones de género y económicas- al de los hombres.
Se centrará específicamente en la figura de Isabel Urrutia, Inés Thiebaut, Kate Moore y Agata Zubel, y en cuatro de sus obras para percusión solista. Aparte del estudio de sus obras, se profundizará también en otros aspectos que ayuden a entender su motivación a la hora de escribirlas; así como otras cuestiones que ayuden a comprender la realidad que viven estas cuatro autoras en su día a día como compositoras: dificultades, encargos, estrenos, discriminación por su género, etc.
This thesis seeks to delve into the role played by women in music, especially women composers who have written for solo percussion. A role that is known not to have been normally equated -for gender and economic reasons- to that of men. It will focus specifically on the figure of Isabel Urrutia, Inés Thiebaut, Kate Moore and Agata Zubel, and on four of their works for solo percussion. Apart from the study of their works, other aspects that help to understand their motivation at the time of writing them will also be studied, as well as other questions that help to understand the reality that these four female composers face in their daily lives as composers: difficulties, commissions, premieres, discrimination due to their gender, etc.
This thesis seeks to delve into the role played by women in music, especially women composers who have written for solo percussion. A role that is known not to have been normally equated -for gender and economic reasons- to that of men. It will focus specifically on the figure of Isabel Urrutia, Inés Thiebaut, Kate Moore and Agata Zubel, and on four of their works for solo percussion. Apart from the study of their works, other aspects that help to understand their motivation at the time of writing them will also be studied, as well as other questions that help to understand the reality that these four female composers face in their daily lives as composers: difficulties, commissions, premieres, discrimination due to their gender, etc.
Description
Keywords
Música contemporánea Igualdad Feminismo Patriarcado Mujeres compositoras Percusión Contemporary music Equality Feminism Patriarchy Women composers Percussion