Exploring Forgotten Female Voices in Composing

Hans Zimmer. John Williams.  Alan Menken: These are all composers that most people know off of the top of our heads when it comes to film scores. These men are the powerhouse of the movie music industry, and are the professionals that we see listed as the composer time and time again when a movie’s credits begin to roll. But we very rarely see a woman step into the position of holding a baton and composing a movie’s score – let alone compose a piece of music at all. These names are few and far between- but why? The answer dates all the way back to the Classical era, and begins a trend that we continue to see perpetuated now in music composition. Female composers have been suppressed throughout history, and continue to be in the realm of both classical and movie composition. 

When looking at the Classical era, the idea of a traditional family structure and a woman staying in the household to tend to housework was what was expected. To be in the workforce in any way, shape, or form, was practically unheard of. Women who worked (except out of absolute necessity) were seen as those who had no desire for any sort of future, condemning themselves to an ostracized life in society. Women could not pursue a career in a field like composition without being seen as an anomaly. Most female composers would eventually end up marrying a man for the sake of security, their music careers falling to the wayside due to societal expectations. Classical music is a part of music that has always been dominated by the patriarchy, with only male composers uplifted, both in past and present. 

This convention in the Classical era was only broken by very few female composers, who I would like to draw attention to. Fanny Mendelssohn Hensel, the sister of famous composer Felix Mendelssohn, was a talented composer whose talents were said to have rivaled her brother’s. However, the gender barrier in the world of music prohibited her from publishing her work and rising to the same status as her brother, but with his encouragement, she revived the art of musical salons, and was able to share her talent through a method other than publication. While Fanny did eventually marry, her musical talent and her ability to share it was a demonstration that women deserved a place in the world of classical music. She composed over five hundred musical works, demonstrating a compositional and musical prowess. During her time alive, Mendelssohn witnessed a small positive shift towards the acceptance of women in the industry, and was one of the first female composers to be published. 

Another woman composer during this time that allowed for the progression of the classical music industry was Clara Schumann, who followed after Medelssohn in her musical talent. While she also did marry, following the societal norms at the time, her husband was a part of the classical music industry, which allowed her to continue to do some compositional work at the beginning of her marriage. However, as her marriage progressed, instead of ceasing to do compositional work, she became the main provider of the family, through her performance of over 238 concerts and continued composition. In contrast to what would be expected her husband, Robert Schumann, another famous composer, actually encouraged her to continue her work. Although she never rose to the same status as him, Schumann became an important name in the world of classical music. One of the first female composers to step into the “spotlight”, Schumann allowed for women to be “able-to” rise to the same level as men when it came to music. However, these two women were some of the very few to ever be successful in the Classical era when it came to composition—and even within their success, were still limited by the confines of the patriarchy. 

When applying this male-dominated lens to the category of movie composition, it is not surprising that it has remained to be a field that is mainly occupied by men. While the women discussed above did begin to pave the way for female composers, the patriarchal domination field still continues to this day. The most recent Donne, Women in Music survey shows that only 7.7% of the music performances during the 2021-2022 season were done by women. That leaves 93.3% of the performances in modern day still being led by men.  If classical music still doesn’t allow the opportunity for women to shine and for their voices in music to be heard, why would the same apply to movie soundtracks? 

This systematic problem within the music composition industry will take more recognition to fix it, alongside a wave of new composers who are willing to break the barrier when it comes to classical and movie composition. While these are great solutions to the current problem of the male-dominated industry, they might take years to happen. According to The Celluloid Ceiling: Employment of Behind-the-Scenes Women on Top Grossing U.S. Films in 2022, 91% of films released that year had no female composers, and were only 8% of composers working on the top 250 movies of 2022. As we have seen, the Academy Awards and other movie award recognition groups have taken years to begin to initiate change when it comes to systematic problems within their industry. 

To combat this, I would like to take the opportunity to shine the light upon some amazing female composers in the movie industry. While some female names have become more prominent, most recently Hildur Guðnadóttir, with her Oscar-winning score for Joker, there are very few that are brought to that same level of recognition. I would like to draw attention to some of these amazing composers- for a movie’s magic cannot be the same without the music that adds to it. Lesley Barber, who composed the score for Manchester by the Sea, brings a dramatic and poignant flare to her work, providing a sweeping score that will take you away in the drama of the movies that she composes for. Her music depicts a story within itself, showing you the emotions behind whatever scene the score is being set under. Anna Calvi, a singer-songwriter turned composer, offers a bold dramatic dark-pop aesthetic with a techno flare. Her composition is a punch in the face and a callback to the dystopian movies of the 2010’s, even doing a piece for Insurgent, the sequel to the well-known dystopian novel turned movie series Divergent. Finally, Pinar Toprak, who composed the score for Captain Marvel and Stargirl, brings an ethereal and techno sound that combines with the  standard superhero score. Her composition provides a new feel to a movie genre that frequents modern pop culture, continuing the legacy of what superhero scores should be while also bringing in a unique voice that separates her work. 

Overall, there is much to be done in order for more female composers to be prevalent in the movie composing industry and in the composing industry as a whole. However, exploring the past allows for reflection upon what changes need to be made in order for the industry to be more welcoming and accessible. By drawing attention to the past and understanding what the barriers to female composers are, while recognizing those who paved the way for present-day female composers, we can begin to understand the lack of representation in the field of composition. With more recognition being given to female composers, as seen with Guðnadóttir and her Best Original Score win for Joker, there remains a hope that this trend within the industry will continue, and lead to a more diverse community of composers. 

Article by Ashley Mauldin 

Design by Emily Conway