In the first two decades of the twenty-first century, women composers have continued to be sidelined, with some of the research suggesting an inbuilt culture of sexism and bias against their music.1 Against this backdrop, these three recently published books potentially counter this negativity. Each shines a radiant light on the rich and diverse contribution to music by women, showing how they are changing the fields of composition, music analysis and musicology. Two of the books, Reconceiving Structure in Contemporary Music by Judy Lochhead and Analytical Essays on Music by Women Composers edited by Laurel Parsons and Brenda Ravenscroft, engage close readings of music, locating themselves in the field of music theory/music analysis. Both deal with twentieth-century and twenty-first-century female composers in the western classical tradition. The third book, Gender, Age and Musical Creativity edited by Catherine Haworth and Lisa Colton, covers a range of historical periods, genres and musical styles. This book overlaps the body of work in critical musicology as well as more broadly reaching out to gender, queer and cultural studies. It makes a unique contribution by extending the categories routinely used to study music—gender, ethnicity, class and sexuality—to include the rarely addressed category of age. It questions the

中文翻译：

---

翻新音乐分析

在二十一世纪的前二十年中，女性作曲家一直处于边缘状态，一些研究表明，这种性别歧视是一种内在的文化，对音乐的偏见。1在这种背景下，最近出版的这三本书可能反驳了这一点。否定性。每一个都散发着光芒，照耀着女性对音乐的丰富多样的贡献，展示了她们如何改变作曲，音乐分析和音乐学领域。Judy Lochhead撰写的《当代音乐结构的构想》和Laurel Parsons和Brenda Ravenscroft编辑的《女性作曲家的音乐分析论》中有两本书对音乐进行了细致的解读，使自己处于音乐理论/音乐分析领域。两者都涉及西方古典传统中的20世纪和21世纪女性作曲家。第三本书，由凯瑟琳·海沃斯（Catherine Haworth）和丽莎·科尔顿（Lisa Colton）编辑的《性别，年龄和音乐创造力》涵盖了一系列历史时期，流派和音乐风格。这本书与批判音乐学领域的工作重叠，并且更广泛地涉及性别，同志和文化研究。它通过扩展用于学习音乐的常规类别（性别，种族，阶级和性）做出了独特的贡献，包括了很少涉及的年龄类别。它质疑 它通过扩展用于学习音乐的常规类别（性别，种族，阶级和性）做出了独特的贡献，包括了很少涉及的年龄类别。它质疑 它通过扩展用于学习音乐的常规类别（性别，种族，阶级和性）做出了独特的贡献，包括了很少涉及的年龄类别。它质疑