Yesterday I had an interesting conversation on Twitter about the representation of female composers under the banner of “new complexity”. Or, rather, why it’s hard to think of any and who decides these things anyway.
This is not, I should add, a conversation about the artistic merits of complexism, or about its usefulness as a historical category. Those are valid arguments, but they can be had elsewhere. It starts from the premise that “new complexity” is a term that music historians use – for good or bad – and notes that it seems to intersect quite dramatically with gender.
The conversation threw up some interesting ideas, so I compiled the whole thing into a Storify thread.
WordPress.com doesn’t allow Storify embedding, but you can read the whole thing here. Further contributions are welcome, either on Twitter or in the comments below.