women composers | Musicosity

women composers

Pauline Oliveros

Composer Pauline Oliveros is a maverick in the field of electronic music. Oliveros' first instrument was the accordion; as a teenager in Texas she played in a 100-piece accordion group that appeared at the rodeo. In 1949 she entered the University of Houston, but in 1952 transferred to San Francisco State College. Oliveros studied music privately with Robert Erickson and began to associate with a loose confederation of like-minded composers; Terry Riley, Steve Reich, and Morton Subotnick among them.

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Sylvia Hallett

Sylvia Hallett studied music at Dartington, and then spent two years studying composition with Max Deutsch in Paris. She now works both as a composer and as an improviser, and has had pieces performed in Britain and Europe. She has played in many international festivals since the late 1970s, working with several well-known and respected musicians, including Lol Coxhill, Maggie Nicols, Phil Minton, Evan Parker, and the groups Accordions Go Crazy, LaXula, British Summer Time Ends, The London Improvisers Orchestra, and the London Hardingfelelag.

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Julia Wolfe

Julia Wolfe (born December 18, 1958) is an American composer. She was born in Philadelphia and works in New York. Wolfe's music is rhythmically vigorous and often clangorously dissonant. As a composer associated with the downtown style of new music she is not averse to drawing on rock and minimalism as primary influences. Her music, however, shows a good deal more rhythmic complexity than is generally found in these genres, hence her music can properly be considered and described as postminimalist.

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Evelyn Glennie

Evelyn Glennie, born in 1965 in Aberdeen, Scotland, is a virtuoso percussionist. She is the first person in musical history to successfully create and sustain a full-time career as a percussion solo performer. As one of the most eclectic and innovative musicians on the scene today she is constantly redefining the goals and expectations of percussion, and creating performances of such vitality that they almost constitute a new type of performance.

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