ABSTRACT
The history of women performers, teachers, patrons, and civic promoters of music has been brought to light, as well as the history of the conditions that consistently have served to exclude or marginalize female participation in music. As a result of this research, understanding of music institutions and of specific people engaged in musical activities has been substantially altered. As pioneering feminist critics of music, different agendas and procedures are developed reflecting one's intellectual training, one's musical tastes, and the particular versions of feminist theory. The chapter addresses the issues that are found most compelling and the circuitous methodological route that has permitted to address some of the concerns of feminist criticism in music. Despite their obvious differences, these four contemporary women musicians—Galas, Vandervelde, Anderson, and Madonna—are similar in that they have inherited the sometimes oppressive conventions. They too are Material Girls who find themselves in Bluebeard's castle, and they too refuse to abide by the house rules.
