Female and musicians from underrepresented groups:
New Historical Anthology of Music by Women by
"In this new edition of Historical Anthology of Music by Women, Briscoe offers an indispensable resource for our own moment. . . . He has commissioned new biographical and critical essays by leading musicologists such as Thomas J. Mathiesen, Elizabeth Aubrey, Suzanne Cusick, Ellen Rosand, and Mark Everist, thus making the most recent interpretations of these women and their music easily available for the classroom." ?from the Foreword by Susan McClary New Historical Anthology of Music by Women updates the extremely popular collection with 55 compositions by 46 women composers from the ancient Greeks to the present. Each work is introduced by an informative essay by a specialist in the field, with recommendations for further reading, listening, and performing. Historical scores have been transcribed into modern notation for ease of use, and the works represent a wide variety of genres, including solo songs, chamber music, piano music, and orchestral scores. Composers include Sappho, Hildegard of Bingen, Barbara Strozzi, Clara Schumann, and Fanny Mendelssohn-Hensel. The anthology includes a foreword by Susan McClary, the leading scholar on women's music. New Historical Anthology of Music by Women is supplemented by an expanded 3-CD set featuring newly commissioned recordings. Contributors: Elizabeth Aubrey, Laura Barceló-Lastra, Melissa Blakesly, Adrienne Fried Block, Marcia J. Citron, Suzanne Cusick, David Gordon Duke, Susan Erickson, Mark Everist, Jill Munroe Fankhauser, Annegret Fauser, Nancy Fierro, Susan M. Filler, Barbara Garvey Jackson, Bryony Jones, Michael Klaper, Carolyn Lindeman, Roberta Lindsey, Thomas J. Mathiesen, Hidemi Matsushita, Susan McClary, Sharon Mirchandani, Craig B. Parker, Karin Pendle, Barbara A. Petersen, Martin Picker, Janet Pollack, Caroline Potter, Nancy B. Reich, Ellen Rosand, Judith Rosen, and Diane Touliatos-Milesis.
Historical Anthology of Music by Women by
Kassia / by Diane Touliatos-Banker -- "Augustus, the Monarch," Byzantine chant -- "The Fallen Woman," Byzantine chant -- Hildegard von Bingen / by Barbara Jean Jeskalian -- "De Sancta Maria," chant sequence -- "In Evangelium," chant antiphon -- "Kyrie," mass ordinary chant -- Countess of Dia / by Beverly J. Evans -- "A Chantar," troubadour song -- Anne Boleyn / by Edith Borroff -- "O Deathe, rock me asleepe," for voice and keyboard or lute (attributed; 1536) -- Maddalena Casulana / by Beatrice Pescerelli -- Madrigal VI (1570) -- Francesca Caccini / by Carolyn Raney -- "Laudate Dominum" and "Maria, dolce Maria," solo songs from Il Primo Libro (1618) -- "Aria of the Shepherd," from the opera La Liberazione di Ruggiero (1625) -- Isabella Leonarda / by Barbara Garvey Jackson -- Kyrie and "Crucifixus" (from Credo) of Messa Prima (from Opus 18), for chorus, strings, and continuo (1696) -- Elizabeth-Claude Jacquet de la Guerre / by Susan Erickson -- "La Flamande" and "Chaconne," from Suite in D minor, for harpsichord (1707) -- Semele, cantata for two treble voices, violin, and continuo (1715) -- Maria Margherita Grimani / by Barbara Garvey Jackson -- "Sinfonia," for strings and continuo, from Pallade e Marte , "opus dramaticum" (1713) -- Anna Amalie / by Jane P. Ambrose -- "Adagio," from Sonata in F major for flute and continuo (ca. 1760) -- Marianne von Martinez / by Karin Pendle -- "Allegro," from Sonata in A major for piano (1765) -- Maria Theresia von Paradis / by Karin Pendle -- "Morgenlied eines armen Mannes," for voice and keyboard (1784-86) -- "Sicilienne," for flute and keyboard -- Maria Agata Szymanowska / by Nancy Fierro, CSJ -- "Nocturne," for piano (1828-31) -- Josephine Lang / by Marcia J. Citron -- "Frühzeitiger Frühling," for voice and piano (1830) -- Fanny Mendelssohn Hensel / by Marcia J. Citron -- "Schwanenlied," for voice and piano (1846) -- Clara Schumann / by Nancy B. Reich -- "Liebst du um Schönheit," for voice and piano (1841) -- "Allegro Moderato," from Trio in G minor for violin, cello, and piano (1846) -- Variations on a Theme by Robert Schumann, for piano (1853-54) -- Louise Farrenc / by Bea Friedland -- "Allegro deciso," from Trio in E minor for flute or violin, cello, and piano (1857-62) -- Pauline Viardot-Garcia / by Austin B. Caswell -- "Die Beschwörung," from Zwölf Gedichte von Pushkin (1865) -- Amy Marcy Beach / by Adrienne Fried Block -- "Elle et moi," for voice and piano (1893) -- "Allegro con fuoco," from Symphony No. 1 (1894) -- "A Hermit Thrush at Morn," for piano (1921) -- Cecile Chaminade / by James R. Briscoe -- "Andante," from Sonata in C minor for piano (1895) -- Dame Ethel Smyth / by Jane A. Bernstein -- Scene from Act I of the opera The Wreckers (1904) -- Lili Boulanger / by Leonie Rosenstiel -- "Je garde une medaille d'elle" and "Demain fera un an," from Clairieres dans le ciel for voice and piano (1914) -- Alma Mahler / by Susan M. Filler -- "Der Erkennende," for voice and piano (1915) -- Rebecca Clarke / by Jane A. Bernstein -- "Allegro," from Trio for violin, cello, and piano (1921) -- Germaine Tailleferre / by Leonie Rosentiel -- "Modere sans lenteur," from Sonata in C-sharp minor for violin and piano (1923) -- Ruth Crawford Seeger / by Judith Tick -- Prelude No. 2, for piano (1924) -- "Rat Riddles," from Three Songs for Contralto, Oboe, Percussion, and Orchestral Ostinati (1930) -- "Andante" and "Allegro possibile," from String Quartet (1931) -- Miriam Gideon / by Barbara A. Petersen -- The Hound of Heaven, for voice, oboe, and string trio (1945) -- Grażyna Bacewicz / by Adrian T. Thomas -- Sonata No. 2, for piano (1953) -- Louise Talma / by James R. Briscoe -- La Corona (Seven Sonnets by John Donne), for mixed chorus (1954-55) -- Julia Perry / by Mildred Denby Green -- Homunculus C.F., for percussion, harp, and piano (1960) -- Vivian Fine / by Vivian Fine -- "The Triumph of Alcestis," from the ballet Alcestis (1960) -- Violet Archer / by Robert Weber -- "Preamble," from Sonata for Alto Saxophone and Piano (1972) -- Pauline Oliveros / by Heidi Von Gunden -- "Teach Yourself to Fly," "Tumbling Song," and "Zina's Circle," from Sonic -- Meditations (1974) -- Thea Musgrave / by James R. Briscoe -- "Monologue of Mary," from the opera Mary, Queen of Scots (1977) -- Ellen Taaffe Zwilich / by Ellen Taaffe Zwilich with Bruce Creditor -- First Movement of Symphony No. 1 (1982)
Music of Black Americans: A History by 
Gender and the Musical Canon by
Why is music composed by women so marginal to the standard 'classical' repertoire? In attempting to answer this fundamental question, this book examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works. Focusing on the tradition since 1800, Marcia J. Citron makes substantial use of feminist and interdisciplinary theory. After introducing the notion of canon and its role in cultural discourse, she explores important elements of canon formation: creativity, professionalism, music as gendered discourse, and reception. A final chapter provides a critique of many of these ideas with respect to the canon of the university music history curriculum. Professor Citron shows how an understanding of canon formation illuminates some of the basic issues that affect the discipline as a whole.
Lili'uokalani AND music
“Composers, black”
“women composers”