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 →
There is a lot of interest at the moment in women composers. Until recently, women were a small minority of the composing population, but in working with large datasets, I encounter a surprisingly large number of female names (although it is often frustratingly difficult to find out any details about them). In the nineteenth century, for example, perhaps 1-2% of published music was written by women.1 Whilst that is an embarrassingly small proportion, it still equates to a substantial body of music by many hundreds of women composers – most of whom have since sunk into obscurity. There are of course many more from the twentieth and twenty-first centuries.2 Continue reading →