The article explores the tensions inherent in the life story of Australian organist Lillian Frost in terms of the intersection of gender, modernity, and aesthetic reaction to modernity. It is argued that Frost may be considered as a trafficker of cultural modernities by representing the first intrusion of modernity into the confines of the Pitt Street Congregational Church. It is further contended that Frost acted as a cultural authority as her performances became high profile.
|Number of pages
|Hecate: an interdisciplinary journal of women's liberation
|Published - 1 May 2011