User talk:185.71.208.147

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Thank you for your work on compositions' lists! How about picking a name that I can remember? --Gerda Arendt (talk) 10:07, 4 May 2021 (UTC)

Hallo! I have a username ("Calevala", I believe), but I can't remember the password, and I am not getting an e-mail with a new one, so I decided to rather work without logging in. You are welcome in terms of the articles. I will continue to add composer names to them every now and then, especially women composers.

Reset password

You can reset your password, if you have forgotten your password. Because a User:Calevala doesn't exist, you can input your e-mail. https://en.wikipedia.org/wiki/Help:Reset_password Grimes2 (talk) 09:02, 5 May 2021 (UTC)

Notability

Please do not add works of composers who are not notable, by the criteria of WP:COMPOSER and WP:GNG. If the composer is notable and does not have an article yet, you might want to create it first before adding their works to list of compositions. intforce (talk) 14:41, 23 May 2021 (UTC)

Hey!

I don't think it's fair what you are doing here! You cannot delete female composers just because nobody has written an English wikipedia article yet.

Silvia Colosanti has f.ex. an Italian wikipedia article. You can also read about her in English on her homepage: http://www.silviacolasanti.com/biography-2/?lang=en

About Tarrodi, you can read on her homespage: "Andrea Tarrodi, born in 1981, is a Swedish composer based in Stockholm. Her works have been performed at several venues both in Sweden and abroad, among them the Royal Albert Hall at the BBC Proms in 2017, the Berliner Philharmonie, the Wiener Musikverein and the Barbican Centre in London. In 2018 Tarrodi´s CD ’String Quartets’ performed by the Dahlkvist Quartet was awarded with a Swedish Grammy for best classical album of the year. Tarrodi's music has also been represented several times at Östersjöfestivalen / the Baltic Sea Festival."

About Helen C. Cran, you can read on the pages of the New York Library which keeps her papers: "Helen Crane, composer and pianist, was born in New York in 1868. While in New York, she studied with German composers Philip and Xaver Scharwenka, and later moved to Berlin (1906-1917). Her composition Elegy for violoncello and pianoforte, op. 57 (1919) received an award from the National Federation of Music Clubs in 1944. The collection consists chiefly of manuscript music scores. A small group of other papers includes correspondence, ephemera, a catalogue of compositions, and programs for concerts of Helen Crane's works at the Mozartem Salzburg in 1928 and 1930."

About Garrop, you can read the following on her homepage: "Garrop is a full-time freelance composer living in the Chicago area. She served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program (2018-2020), during which she composed The Transformation of Jane Doe and What Magic Reveals with librettist Jerre Dye. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra (2016-2019), funded by New Music USA and the League of American Orchestras. Theodore Presser Company publishes her chamber and orchestral works; she self-publishes her choral pieces under Inkjar Publishing Company. Garrop is a Cedille Records artist with pieces currently on ten CDs; her works are also commercially available on numerous additional labels.

Garrop has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. Earlier in her career, she participated in reading session programs sponsored by the American Composers Orchestra and Minnesota Orchestra (the Composers Institute)."

I could continue for a while, but I do hope you get the point. These are relevant composers, and simply deleting them is not an option. It's sexist - since nobody has written an article about them, they must be irrelevant. Please, I don't have the time to write an article about every single female composer who should have one, but I am trying to help people discover their music. Maybe somebody else will then be able to write their articles. So could you please restore the entries here? Thank you! — Preceding unsigned comment added by 185.71.208.147 (talk) 15:56, 23 May 2021 (UTC)

The gender of the composers in question is completely irrelevant in this argument. A composer is deemed not notable until someone proves so. If there is no corresponding article in good standing, which would presumably imply notability, you must prove by the criteria at WP:COMPOSER or WP:GNG that the composer is indeed notable. And by that point, you might as well write a short, concise article with reliable sourcing. This is all to prevent the lists from blowing up. If we were to include every single work by every composer who has ever lived, the lists would be worthless. Please also do not delete comments when replying, and remember to sign your comments like this: ~~~~ intforce (talk) 16:56, 23 May 2021 (UTC)

a) I don't have a username. And I am not sure if I want to get one if you treat people who want to contribute on their spare time like that. b) Of course, the gender matters. So long there is a huge imbalance in terms of how we write about classical music and classical musicians and who edits wikipedia, the system is always in disfavour of women. Guys like you edit only article about Schumann or Dvorak. There are few women here on wikipedia, you are doing little to change that, the user surface is really not intuitive (sorry for deleting something, the problems start with that there is no big reply button) for any newcomers, and then you build up extra hurdles in form of being able to write a whole new article before I can add a name of a person to wikipedia that doesn't have an article before. And instead of checking whether this could be a valuable constribution, you simply delete. You are giving yourself the power to judge how big a list should be and for whom it could be useful. If I am playing in a piano trio or a string quartet, I do know the standard repertoire, but I might come here for finding a new piece I have NOT played before and that I would like to try out. If I am planning a concert, I might try to find pieces that could be matching and which are not the ones the audience has heard 100 times before. If I am a musicology student, doing research for a paper, I am also likely to not just look for the standard repertoire here, but might want to find piano trios written by women in the 19th century. But according to you, the list has only a certain value if it is not too long. That is an extremely arrogant approach.

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