Abstract
The period 1880–1930 saw women composers achieve unprecedented prominence as composers of large-scale works. This success coincided with the first wave of feminist movements in England, France and Germany. This article views the junctions where these two groups of women met through the vehicle of the feminist press, documenting the tensions and misunderstandings that occurred between emerging women composers attempting to be taken seriously as creative entities and feminists seeking to improve the political, social and professional lot of women. The pervasive aesthetic of male musical genius remained unquestioned by many feminists in spite of examples of female creative brilliance.
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