“Nadia Boulanger was quite aware that as a composition teacher she labored under two further disadvantages: she was not herself a regularly practicing composer and in so far as she composed at all she must of necessity be listed in that unenviable category of the woman composer. Everyone knows that the high achievement of women musicians as vocalists and instrumentalists has no counterpart in the field of musical composition. This historically poor showing has puzzled more than one observer. … Is it possible that there is a mysterious element in the nature of musical creativity that runs counter to the nature of the feminine mind? … The future may very well have a different tale to tell; for the present, however, no woman's name will be found on the list of world-famous composers.”

Il y a deux musiques: une petite, mesquine, de second ordre, partout semblable à elle-même, qui repose sur une centaine de phrases que chaque musicien s&#x27;approprie, et qui constitue un bavardage plus ou moins agréable avec lequel vivent la plupart des compositeurs. <br class="br"> Massimilla Doni http://fr.wikisource.org/wiki/Massimilla_Doni (1839), translated by Clara Bell and James Waring

"Film Music", The R. C. M. Magazine, February 1944.

Source: Clockwork Angel

The Stereotype
The Female Eunuch (1970)

About meeting Kate Bush.

Context: Of course [Kate Bush] is still relevant. I wasn't actually in the country when her music first came out, so I only discovered it three or four years ago. What's amazing is that something like "Wuthering Heights" still sounds so different. I actually saw her about nine months ago, we were just passing at an industry event and I went up to her and said I was a big fan and asked her about the new record. She was really excited about it but quite nervous because she felt that everyone was hyping it up a bit and she just wanted to bring out an album. You know, she's a musician.

The Stereotype
The Female Eunuch (1970)
Context: The stereotype is the Eternal Feminine. She is the Sexual Object sought by all men, and by all woman. She is of neither sex, for she has herself no sex at all. Her value is solely attested by the demand she excites in others. All she must contribute is her existence. She need achieve nothing, for she has herself no sex at all. her value is solely attested by the demand she excites in others. All she must contribute is her existence. She need achieve nothing, for she is the reward of achievement. She need never give positive evidence of her moral character because virtue is assumed from her loveliness, and her passivity.

Source: An Introduction to English Poetry (2002), Ch. 21: Song (p. 115)

Plato, Phaedo