This page contains supporting material for my presentation at the Royal Musical Association’s annual conference at Bristol University on 13-15 September 2018. Continue reading →
My field of research is using statistics to explore the history of music. Today I’d like to talk about some analysis I’ve done on women composers and their works. Time is short, so I’ve got just four charts, and I’ll talk briefly about what they tell us about women composers, and about the data and the methodology, and the sort of issues that can arise with this sort of investigation. There is more detail available at this link.1
Carlotta Cortopassi was one of the first ‘lost composers’ that I came across in my research into the use of statistics in music history (as described in this article), and I have often mentioned her as an example of one of the many thousands of names that have disappeared from music history. So I was delighted last week to be contacted by Mickey Cortopassi, a descendant of Carlotta and Luigi who emigrated to the USA in 1908, aged 41.
This prompted me to have another online search for her. It is always worth repeating searches from time to time, as new material comes online and search algorithms change. I managed to find two interesting things… Continue reading →
As part of my research into women composers, I have been playing around with first names – partly as a way of identifying genders among general lists of composers. The most common first name for female composers overall is Mary / Marie / Maria, followed by Anne, Florence, Alice, Dorothy, Elizabeth, Louise and Margaret.1
I thought it would be interesting to compare this with male composers, whose most popular first name is John / Johann / Johannes / Jean / Giovanni. Which are there more of, women, or Johns? Continue reading →
Deduplication is an important, though often messy and time-consuming, part of many statistical investigations. It is usually required when data comes from several different sources, to identify all of the records that actually refer to the same thing. For example, I have recently been deduplicating the names appearing in the ‘women composers’ sources listed in this previous article. Deduplication may also be needed where several publications of the same work are described in different ways in a library catalogue. Continue reading →
I have recently been working on extracting data on women composers from the various sources listed in this previous article. The first source on that list is a scanned copy of a French translation of a book – Les femmes compositeurs de musique – compiled in 1910 by Otto Ebel. It is available at archive.org here. Although I’ve not had great success in the past in extracting usable data from scanned books, this appears to be a reasonably tidy scan of Ebel, which looks like a useful source on women composers, so I thought I would give it a go. Continue reading →
I have just taken delivery of a good ex-library copy of the weighty two-volume ‘International Encyclopedia of Women Composers’ by Aaron I Cohen,1 which will be useful for some research I am doing (as well as for writing some materials to accompany a series of concerts by the excellent Bristol Ensemble next year). The encyclopedia weights about 3½kg, has almost 1,200 pages, and lists 6,196 women composers spanning all continents and over four millennia. Each entry includes brief biographical details, lists of works, and references for further reading. Continue reading →
The gentleman pictured to the right is Welsh composer Henry Brinley Richards.1 Although he is little-known today, his piano nocturne ‘Marie’ Opus.60 was the most published British musical work in Germany in the nineteenth century. German music lovers could purchase ‘Marie’ in its original form or in various arrangements in an impressive 34 separate publications from 27 different publishers between 1861 and 1877.2
That conclusion comes from an analysis of Hofmeister’s Monatsberichte – a monthly listing of music publications appearing in the German market, compiled by Leipzig music publisher Friedrich Hofmeister from 1829 onwards. The Monatsberichte up to the end of the nineteenth century are available as an online database, listing about a third of a million publications from over 36,000 composers. This article is about the British composers and their works that appear in Hofmeister’s listings. Continue reading →
Finding a great dataset is all very well, but the next step is working out how to get the data onto your computer so that you can start playing with it. Datasets come in many forms, and there are different ways of collecting the data. In this article I will use some examples from the list of datasets in this previous article on women composers.
There are three main approaches to collecting data: read it and type it in, download it, or ‘scrape’ it. Continue reading →