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Bandleader Mrs Mary Hamer and Her Boys

Bandleader Mrs Mary Hamer and Her Boys
  • Popular Music and Dance Cultures in Interwar Liverpool
  • Laura Hamer, Michael Brocken
  • Published online:
    14 March 2025
    Print publication:
    10 April 2025
    • Element
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  • The city of Liverpool is renowned for its popular music, although the formidable hagiography which has developed around the Beatles tends to dominate historical considerations to the virtual exclusion of the many other varied genres which have flourished in the city before, during, and after them. Within Liverpool's popular-music past is a partially hidden history of women's musical leadership. This Element concerns the Grafton Rooms' bandleader, dancer, and pianist Mary Hamer (1904–1992). Hamer led the otherwise all-male dance band at the Grafton for two decades, providing dancers with first-class dance music. The Element considers Hamer within the rapidly evolving dance music culture of interwar Liverpool, and discusses the different genres and sub-genres of popular music and dance presented at the Grafton and the role(s) of women in popular music and as bandleaders. This is contextualised within the contemporary social anxieties of popular dance cultures, sexuality, faith, class, and race.

  • 5 - On the Podium: Women Conductors

  • from Part I - The Classical Tradition
  • Edited by Laura Hamer
  • Book:
    The Cambridge Companion to Women in Music since 1900
    Published online:
    17 April 2021
    Print publication:
    06 May 2021, pp 64-79

  • Summary

    Chapter 5 turns to the situation of women conductors. It considers the early women conductors of the twentieth century, many of whom, such as Ethel Leginska, founded and led their own women’s orchestras. It explores how – with the important exception of Veronika Dudarowa’s career in the USSR – the majority of women conductors lost opportunities following the general demise of the women’s orchestras during the Second World War. It also examines the re-emergence of women at the heads or orchestras in the later twentieth century, with a particular focus upon the career of Marin Alsop. It concludes by discussing the important work that Alsop and others, notably (in the UK) Alice Farnham, are doing through mentoring and training the younger generation of women conductors through such initiatives as Alsop’s Taki Concordia Fellowship and Farnham’s Women Conductors programme at the Royal Philharmonic Society.

  • Preface

  • Edited by Laura Hamer
  • Book:
    The Cambridge Companion to Women in Music since 1900
    Published online:
    17 April 2021
    Print publication:
    06 May 2021, pp xxi-xxix

  • Summary

    The preface briefly outlines the evolving situation of women in music since 1900, and also explores the development of women in music studies/feminist musicology since the 1980s. The Cambridge Companion to Women in Music since 1900 is situated within this field. An overview of the contents of the volume – which considers women in classical music, women in popular music, women and music technology, and women’s wider work in music (including music education and the music industries) – is provided. The preface concludes with a short section of acknowledgements.

The Cambridge Companion to Women in Music since 1900
  • Edited by Laura Hamer
  • Published online:
    17 April 2021
    Print publication:
    06 May 2021
  • This Companion explores women's work in music since 1900 across a broad range of musical genres and professions, including the classical tradition, popular music, and music technology. The crucial contribution of women to music education and the music industries features alongside their activity as composers and performers. The book considers the gendered nature of the musical profession, in areas including access to training, gendered criticism, sexualization, and notions of 'gender appropriate' roles or instruments. It covers a wide range of women musicians, such as Marin Alsop,  Grace Williams, Billie Holiday, Joni Mitchell and Adele. Each thematic section concludes with a contribution from a practitioner in her own words, reflecting upon the impact of gender on her own career. Chapters include suggestions for further reading on each of the topics covered, providing an invaluable resource for students of Feminist Musicology, Women in Music, and Music and Gender.

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