Compositrice

In 1913, when Lili Boulanger is the first woman to receive the Prix of Rome, the Villa Médicis is not conceived to receive from young woman: the Conservatory French National, embarrassed, must then install it downtown. This anecdote in practice attests Female condition of the musical Composition , durably marked by social and educational barriers, that some women arrived however, with the wire of the history, to surmount with the liking of occasions and exceptional circumstances.

Intimacy with public space

If the musical practice in private space were seen like a distraction or a whim adding of the charm to the housewife, a kind of ornament, the public practice of this art meant on the other hand, since the Antiquité, the assimilation with the practice of the prostitution.

With the Middle Ages, the setting with the round of applause of the women practitioner the music knew a notable exception however: the Moniale S could indeed produce parts for their community. Nevertheless, these practices remain only one enclave within the religious institutions, the women being excluded from the musical production within the churches and the cathedrals (choruses, composition). This exclusion of the public place then explains the historical ignorance of the pieces of music written by women. The female compositions of this time found a relative recognition only by the development of the studies on the place of the women in arts and by the very recent recording of these parts by medieval units.

Trobairitz

Nevertheless, in the Occident of XIIe and 13th centuries, it is apart from the framework of the religious communities that one finds the first compositrices of profane or crowned music. The Trobairitz, poétesses of the South of France exits of the nobility, belong indeed to the courteous company.

Various theses try to in practice explain the typical location of these women of the musical composition: the composition would have become a logical accompaniment of the musical talents essential to the life of court in France Occitan E (song, instruments), or the particular capacity which the women in the south of France held to the XII and 13th centuries would have given access to them these artistic practices.

The only composition of a trobairitz whose music is known today is a Canso of the countess Beatritz de Dia, entitled has chantar me er of so that have No volria .

At the XVIIème century

The XVIIe century sees flowering of many type-setters, including three women: Francesca Caccini, Barbara Strozzi and Isabella Leonarda.

Appendices

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