But women have long played a great role in performance, patronage, and pedagogy. Until recently, of course, women have played very little part in composition. . . . Certainly, his words delighted the two editors, who now gladly offer the finished book as one response to Schiff's wide-ranging call: The various authors of the present collective work would most likely cheer the insightful agenda that the composer and critic David Schiff proposed in the New Republic just as we were all finishing our chapters. Music Patronage As a "Female-Centered Cultural Process" Ralph P. Cyrilla Barr dedicates her part of the project to the memory of her parents, her own first Keepers of Musical Culture. Locke, for support and encouragement early on. Farhi and to Marti and Susannah Locke, and to thank his parents, Doris Locke and the late Merle I. On a more personal note, Ralph Locke wishes to dedicate his part of this project, with love, to Lona M. Doris Kretschmer, Peter Dreyer, Paul Psoinos, and Cindy Fulton were understanding editors throughout the process, and Lee Brentlinger prepared the index with care and insight. Solie and Joseph Kerman and, at somewhat later stages, Dena Epstein, Adrienne Fried Block, Alfred Mann, Nancy B. We particularly wish to thank various kindly advisors: These included, at the very outset, Ruth A. Here let us simply acknowledge the encouragement and support we have received along the way from all the contributors (who responded promptly and thoughtfully to our sometimes insistent requests), as well as from the confidential readers secured by the University of California Press: a cultural historian, a social historian, and two musicologists. The shape of the book that resulted is explained toward the end of our Introduction. No sooner had we breathed word of our plan to the scholarly community than one contributor after another came forward with marvelous chapters and documentary vignettes.
Finally, we learned of each other's existence, exchanged manuscripts and tales of woe, and decided to try to put together something like that phantom larger study. We, the two editors, began our work on this project separately, each toiling for several years, amid other endeavors, at a study of a given woman patron (the subjects of Chapters 3 and 6) and each feeling repeated frustration that there was no large study of women's patronage of art music in America to consult.
0 kommentar(er)
