Women as Music Patrons

380 Words2 Pages
Women as a gender have been consistently pushed aside and berated for being different or unwanted; yet there were women who fought against their oppression. The women that knew how to work with the system were could be considered more influential to musical developmental change as these women did anything they could to further music as a culture. These women, who throughout history, were the companions of many a famous composer and instrumentalist. They could be, in part, a major factor of what music development was and the styles that were popular. These women were called by many names such as backers, sponsors and benefactors, but are collectively referred to as patrons. These were strong, independent women that supported the endeavors of those that could intervene with the world of music and hopefully shape it for the future. Women such as Lucrezia Borgia, Empress Marie Therese and Nadezhda von Meck were three of the most influential women that shaped music through the means of being patrons. The word “patron” derives from the Latin patronus, which roughly translates to protector or defender. The Latin duality of patronus and libertinus, (where their meanings were of slave owners and slaves), is where a slave owner who manumits his slave, becomes the slave’s patron and they enter a skewed state of equality. The freedman (libertinus) had social obligations to his patron, which might involve campaigning on his behalf if he ran for election, doing requested jobs or errands, or continuing in sexual servitude under formal pretenses. In return, the patron was expected to ensure a certain degree of material security for his freed slave. Allowing one's clients to become destitute or entangled in unjust legal proceedings would reflect poorly on the patron and diminish his prestige. The modern, textbook definition of patronage is: “the support, encouragement, privilege,
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