Fuller, Sophie 1961-
Fuller, Sophie 1961-
FULLER, Sophie 1961-
Born August 26, 1961, in Oxford, England; daughter of John (a writer) and Prue (an educator and administrator; maiden name, Martin) Fuller. Education: Pushkin Institute, diploma, 1982; London School of Slavonic and East European Studies, London, B.A. (with honors), 1984; King's College, London, B.Mus., 1988, M.Mus. (with distinction), 1989, Ph.D., 1998.
London Veena Music Group, London, England, flautist, 1984-85; Women in Music Archive and Information Service, London, project coordinator, 1992-96; University of Reading, Reading, England, lecturer in music, 1995—, and director of teaching and learning music. Teacher at Sidcup Adult Education Institute, 1989, Ithaca College, London Center, 1993-94, and University of Southampton, 1993-96; guest lecturer at other institutions, including University of London, Open University, Middlesex Polytechnic, University of Middlesex, University of Durham, University of Surrey, and University of Virginia. Creator of "Women in Music Listening Exhibition," 1990; conference organizer; guest on media programs, including television specials A Skirt through History, British Broadcasting Corp., 1994, and To Mention but a Few, Channel 4, 1994; London News Talk Radio, classical music correspondent, 1995.
Philip Brett Award, American Musicological Society, 2002, for Queer Episodes in Music and Modern Identity.
(Translator) Yevgeny Zamyatin, "Islanders" and "The Fisher of Men," Salamander Press (Edinburgh, Scotland), 1984.
(With Nicola LeFanu) Reclaiming the Muse: A Select Bibliography of English-Language Writing on Women and Music, privately printed (London, England), 1991.
The Pandora Guide to Women Composers: Britain and the United States, 1629-Present, Pandora (London, England), 1994.
The Women in Music Classical Repertoire Guide: Orchestral Music, Women in Music (London, England), 1996.
(Editor, with Lloyd Whitsell, and contributor) Queer Episodes in Music and Modern Identity, University of Illinois Press (Champaign, IL), 2002.
(Editor, with Nicky Losseff, and contributor) The Idea of Music in Victorian Fiction, Ashgate Publishing (Aldershot, England), 2004.
Contributor to books, including Aspects of British Song, edited by Brian Blyth Daubney, British Music Society (Melton Mowbray, England), 1992; The Lady of the Camellias: Responses to the Myth, edited by Nicholas John, Faber & Faber (London, England), 1994; Girls! Girls! Girls! Essays on Women and Music, edited by Sarah Cooper, Cassell (London, England), 1995; Analysing Performance, edited by Patrick Campbell, Manchester University Press (Manchester, England), 1996; and Music and the Oriental Imagination in Britain, edited by Martin Clayton and Bennett Zon, Ashgate Publishing (Aldershot, England). Contributor of articles and reviews to periodicals, including Everywoman, Independent, Women: Cultural Review III, Contemporary Music Review, Full Score, BBC Music, and Just Women. Member of editorial board, Women and Music: Journal of Gender and Culture and Twentieth-Century Music.
Sophie Fuller told CA: "Long fascinated by the culture of early twentieth-century Russia, I started my writing career with a translation of a novella and a short story by the Russian author Evgeny Zamyatin. In the mid-1980s my academic interests turned to musicology and in particular to exploring aspects of gender and sexuality in music and musical life, especially in nineteenth-and twentieth-century Britain. This work was initially driven by a desire to retell the story of British music-making in the later nineteenth century and include some of the intriguing characters—notably women composers—who had been forgotten and omitted. Alongside this retelling has been a commitment to making sure that long-silent music is played and heard again.
"Having poets for a father and grandfather (John Fuller and Roy Fuller) has always made writing and literature a natural and central part of my life. The work of musicologists Philip Brett and Elizabeth Wood has been a constant source of inspiration. My love for both music and literature has been brought together in my work on the representation of music and musical life in British novels of the nineteenth and twentieth centuries."