ABSTRACT
This conclusion presents some closing thoughts on the concepts covered in the preceding chapters of this book. The book is a paradoxical endeavour. It composes a new way of thinking about the absence of women's music in the concert hall but, in the liberal feminist sense, it does not find a solution. The book focuses on music derived from the tradition of Western art music. It argues, in particular, through investigation of various models of authorship and their applications to the new music composer, that the dominant music, founded in the post-serial, atonal aesthetic, is reinforced by the model of authorship which celebrates the neo-romantic, autonomous creator. It has strung together the underlying feminist enquiry into new music with that of a Deleuzian way of thinking. The threads woven in the book come together in a complex tapestry of music and music-making.
