Select Bibliography

doi:10.1017/9781108991124.014

Select Bibliography

Published online by Cambridge University Press: 19 October 2023

Edited by

E. Douglas Bomberger

Show author details

E. Douglas Bomberger: Affiliation:
Elizabethtown College, Pennsylvania

Book contents

Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'

Type: Chapter
Information: The Cambridge Companion to Amy Beach , pp. 249 - 259

DOI: https://doi.org/10.1017/9781108991124.014 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

The Canticle of the Sun. Ed. Buchanan, Betty. Recent Researches in American Music, vol. 57. Madison, WI: A-R Editions, 2006.Google Scholar

The Chambered Nautilus, op. 66. Bryn Mawr, PA: Hildegard, 1994.Google Scholar

Children’s Carnival, op. 25. Ed. Glickman, Sylvia. Bryn Mawr, PA: Hildegard, 1990.Google Scholar

Festival Jubilate. Ed. Brittain, Randy C.. Bryn Mawr, PA: Hildegard, 1995.Google Scholar

Five Songs on French and German Texts. Ed. Friedberg, Ruth C.. San Antonio, TX: Southern Music Company, 1994.Google Scholar

Grand Mass in E-Flat Major, op. 5. Ed. Phelps, Matthew. Recent Researches in American Music, vol. 84. Madison, WI: A-R Editions, 2018.Google Scholar

The Life and Music of Amy Beach, “The First Woman Composer of America.” Compiled and ed. Smith, Gail. Pacific, MO: Creative Keyboard Publications, 1992.Google Scholar

Music for Violin and Piano. Ed. Plaut, Sylvia. Bryn Mawr, PA: Hildegard, 1994.Google Scholar

Piano Concerto, op. 45. Ed. Schleifer, Martha Furman. Bryn Mawr, PA: Hildegard, 1995.Google Scholar

Piano Music. New Introduction by Glickman, Sylvia. New York: Da Capo Press, 1982.Google Scholar

Piano Music. Ed. Block, Adrienne Fried. Mineola, NY: Dover, 2001.Google Scholar

Quartet for Strings (in One Movement), op. 89. Ed. Block, Adrienne Fried. Music of the United States of America (MUSA), vol. 3. Madison, WI: A-R Editions, 1994.Google Scholar

Quintet in F-sharp Minor, for Piano and Strings, op. 67. Ed. Fried Block, Adrienne. New York: Da Capo Press, 1979.Google Scholar

The Sea-Fairies, op. 59. Ed. Kuster, Andrew Thomas. Recent Researches in American Music, vol. 32. Madison, WI: A-R Editions, 1999.Google Scholar

Sonata in A Minor for Violin and Piano, op. 34. Ed. Johnson, Rose-Marie. New York: Da Capo Press, 1986.Google Scholar

Suite for Two Pianos Founded upon Old Irish Melodies, op. 104. Ed. Block, Adrienne Fried. Bryn Mawr, PA: Hildegard Publishing, 2000.Google Scholar

Symphonie (“Gaelic”) in E moll für grosses Orchester, op. 32. Intro. by Phillip Brookes. Munich, Germany: Musikproduktion Höflich, 2015.Google Scholar

Symphony No. 2 [sic] in E minor (“Gaelic”), op. 32. Boca Raton, FL: Kalmus, [n.d.].Google Scholar

Theme and Variations for Flute and String Quartet, op. 80. Ed. Block, Adrienne Fried. Bryn Mawr, PA: Hildegard Publishing, 1996.Google Scholar

Three Movements for Piano Four-Hands. Ed. Block, Adrienne Fried. Bryn Mawr, PA: Hildegard Publishing, 1998.Google Scholar

Twenty-Eight Songs. Huntsville, TX: Recital Publications, 1985.Google Scholar

Twenty-Three Songs. Ed. Boehm, Mary Louise. New York: Da Capo Press, 1991.Google Scholar

Variations on Balkan Themes, op. 60. Boca Raton, FL: Masters Music, 1995.Google Scholar

Young People’s Album, op. 36. Ed. Hinson, Maurice. Van Nuys, CA: Alfred: 2003.Google Scholar

Young People’s Carnival, op. 25. Ed. Hinson, Maurice. Van Nuys, CA: Alfred: 1994.Google Scholar

Secondary Sources

“New Gems in the Old Classics: A Talk with Mrs. H. H. A. Beach, Reported by William Armstrong.” The Etude 22, no. 3 (February 1904): 51.Google Scholar

“Common Sense in Pianoforte Touch and Technic.” The Etude 34, no. 10 (October 1916): 701.Google Scholar

“Emotion Versus Intellect in Music.” Music Teachers National Association Proceedings 26 (1931), 17–19.Google Scholar

“How Music Is Made.” Keyboard (Winter 1942): 11, 38.Google Scholar

“The Mission of the Present-Day Composer.” The Triangle of Mu Phi Epsilon 36, no. 2 (February 1942): 72.Google Scholar

“Music after Marriage and Motherhood.” The Etude 27, no. 8 (August 1909): 520.Google Scholar

“The Outlook for the Young American Composer: An Interview … by Mr. Edwin Hughes.” The Etude 33, no. 1 (January 1915): 13.Google Scholar

“A Plea for Mercy.” Music Teachers National Association Proceedings 30 (1935), 163–65.Google Scholar

“To the Girl Who Wants to Compose.” The Etude 36, no. 11 (November 1918): 695.Google Scholar

“The Twenty-Fifth Anniversary of a Vision.” Music Teachers National Association Proceedings 27 (1932), 45–48.Google Scholar

“Why I Chose My Profession.” Mother’s Magazine (February 1914): 7–8. Reprinted in Music in the USA: A Documentary Companion. Ed. Judith Tick. Oxford and New York: Oxford University Press, 2008. Pp. 323–29.Google Scholar

“Work Out Your Own Salvation.” The Etude 36, no. 1 (January 1918): 11.Google Scholar

“The World Cries Out for Harmony.” The Etude 62, no. 1 (January 1944): 11–12.Google Scholar

Beckerman, Michael. “Henry Krehbiel, Antonín Dvořák, and the Symphony ‘From the New World.’” Notes 49, no. 2 (Dec. 1992): 447–73.Google Scholar

Beckerman, Michael. New Worlds of Dvořák: Searching in America for the Composer’s Inner Life. New York: W. W. Norton, 2003.Google Scholar

Blair, Karen J. The Torchbearers: Women and Their Amateur Arts Associations in America, 1890–1930. Bloomington: Indiana University Press, 1994.Google Scholar

Block, Adrienne Fried. “Amy Beach.” In Women Composers: Music Through the Ages, vol. 7, Composers Born 1800–1899: Vocal Music, ed. Glickman, Sylvia and Schleifer, Martha Furman. New York: G. K. Hall, 2003. Pp. 492–528.Google Scholar

Block, Adrienne Fried. “Amy Beach as Teacher.” American Music Teacher 48, no. 5 (April/May 1999): 22–25.Google Scholar

Block, Adrienne Fried. Amy Beach, Passionate Victorian: The Life and Work of an American Composer. New York: Oxford University Press, 1998.Google Scholar

Block, Adrienne Fried. “Amy Beach’s Music on Native American Themes.” American Music 8, no. 2 (Summer 1990): 141–66.CrossRef Google Scholar

Block, Adrienne Fried. “Arthur P. Schmidt, Music Publisher and Champion of American Women Composers.” In The Musical Woman: An International Perspective, vol. 2, 1984–1985, ed. Zaimont, Judith Lang, Overhauser, Catherine, and Gottlieb, Jane. Westport, CT: Greenwood Press, 1987. Pp. 145–76.Google Scholar

Block, Adrienne Fried. “Boston Talks Back to Dvořák.” Institute for Studies in American Music Newsletter 18, no. 2 (1989): 10–11, 15.Google Scholar

Block, Adrienne Fried. “Dvořák, Beach, and American Music.” In A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock, ed. Richard Crawford, R. Lott, Allen, and Oja, Carol. Ann Arbor: University of Michigan Press, 1990. Pp. 256–80.Google Scholar

Block, Adrienne Fried. “Early Federation Connections with Amy Beach: Amy Beach and the Federation – An Affair of the Heart.” Music Clubs Magazine 78 (Winter 1998): 8–9.Google Scholar

Block, Adrienne Fried. “How to Write an American Symphony: Amy Beach and the Birth of the ‘Gaelic’ Symphony.” American Composers Orchestra, www.americancomposers.org/beach_article.htm, accessed June 1, 2014.Google Scholar

Block, Adrienne Fried. “‘A Veritable Autobiography’? Amy Beach’s Piano Concerto in C# Minor, Op. 45.” Musical Quarterly 78, no. 2 (Summer 1994): 394–416.CrossRef Google Scholar

Block, Adrienne Fried. “Why Amy Beach Succeeded as a Composer: The Early Years.” Current Musicology 36 (Fall 1983): 41–59.Google Scholar

Bomberger, E. Douglas. “Amy Marcy Cheney Beach.” In Women Composers: Music Through the Ages, vol. 6, Composers Born 1800–1899: Keyboard Music, ed. Glickman, Sylvia and Schleifer, Martha Furman. New York: G. K. Hall, 1999. Pp. 351–70.Google Scholar

Bomberger, E. Douglas. “Edward MacDowell, Arthur P. Schmidt, and the Shakespeare Overtures of Joachim Raff: A Case Study in Nineteenth-Century Music Publishing.” Notes 54, no. 1 (September 1997): 11–26.Google Scholar

Bomberger, E. Douglas. An Index to Music Published in The Etude Magazine, 1883–1957. MLA Index and Bibliography Series, No. 31. Lanham, MD: Scarecrow Press, 2004.Google Scholar

Bomberger, E. Douglas. MacDowell. New York: Oxford University Press, 2013.Google Scholar

Bomberger, E. Douglas. Making Music American: 1917 and the Transformation of Culture. New York: Oxford University Press, 2018.Google Scholar

Bomberger, E. Douglas. “Motivic Development in Amy Beach’s Variations on Balkan Themes, op. 60.” American Music 10, no. 3 (Fall 1992): 326–47.CrossRef Google Scholar

Bomberger, E. Douglas. “The Nineteenth Century.” In From Convent to Concert Hall: A Guide to Women Composers, ed. Glickman, Sylvia and Schleifer, Martha Furman. Westport, CT: Greenwood, 2003. Pp. 153–216.Google Scholar

Brooks, Benjamin. “The ‘How’ of Creative Composition: A Conference with Mrs. H. H. A. Beach.” The Etude 61, no. 3 (March 1943): 151.Google Scholar

Brower, Harriet. “Mrs. H. H. A. Beach: How a Composer Works.” In Piano Mastery, Second Series. New York: F. A. Stokes, 1917. Pp. 179–87.Google Scholar

Brown, Jeannell Wise. Amy Beach and Her Chamber Music: Biography, Documents, Style. Metuchen, NJ: Scarecrow Press, 1994.Google Scholar

Buchanan, Betty. “Connection: A Medieval Text and Twentieth-Century Expressionism in ‘Canticle of the Sun’ by Amy Beach.” Choral Journal 41, no. 10 (May 2001): 9–19.Google Scholar

Burton, Anthony. “Amy Beach: America’s Thwarted Great.” BBC Music 25, no. 6 (March 2017): 60–63.Google Scholar

Cipolla, Wilma Reid. “Arthur P. Schmidt: The Publisher and His American Composers.” In Vistas of American Music: Essays in Honor of William K. Kearns, ed. Porter, Susan L. and Graziano, John. Warren, MI: Harmonie Park Press, 1999. Pp. 267–81.Google Scholar

Cook, Susan C., and Tsou, Judy S., eds. Cecilia Reclaimed: Feminist Perspectives on Gender and Music. Urbana: University of Illinois Press, 1994.Google Scholar

Corn, Wanda M. Women Building History: Public Art at the 1893 Columbian Exposition. Berkeley: University of California Press, 2011.Google Scholar

Croly, J[ennie] C. The History of the Woman’s Club Movement in America. New York: H.G. Allen, 1898.Google Scholar

Curtis, Liane Renee. “The Music of Amy Beach: A Cross-Disciplinary Conference (Mannes College of Music, December 5, 1999).” IAWM Journal: International Alliance for Women in Music 6, nos. 1–2 (2000): 15–16.Google Scholar

De Graaf, Melissa J. “‘Never Call Us Lady Composers’: Gendered Receptions in the New York Composers’ Forum, 1935–1940.” American Music 26, no. 3 (2008): 277–308.Google Scholar

DeVenney, David P. Source Readings in American Choral Music. Missoula, MT: College Music Society, 1995.Google Scholar

Eden, Myrna G. Energy and Individuality in the Art of Anna Huntington, Sculptor and Amy Beach, Composer. Metuchen, NJ: Scarecrow Press, 1987.Google Scholar

Elder, Dean M. “Where Was Amy Beach All These Years? (Interview with Mary Louise Boehm).” Clavier 15, no. 9 (1976): 14–17.Google Scholar

Ellison, Cori. “A Woman’s Work Well Done.” New York Times, May 7, 1995, p. H29.Google Scholar

Elson, Arthur, and Truette, Everett E.. Woman’s Work in Music. Boston, MA: L. C. Page, [1931].Google Scholar

Faucett, Bill F. Music in Boston: Composers, Events, and Ideas, 1852–1918. Lanham, MD: Lexington Books, 2016.Google Scholar

Feldman, Ann E. “Being Heard: Women Composers and Patrons at the 1893 World’s Columbian Exposition.” Notes 47, no. 1 (1990): 7–20.CrossRef Google Scholar

Flatt, Rose Marie Chisholm. “Analytical Approaches to Chromaticism in Amy Beach’s ‘Piano Quintet in F-Sharp Minor.’” Indiana Theory Review 4, no. 3 (1981): 41–58.Google Scholar

Fletcher, Alice. A Study of Omaha Indian Music. Cambridge, MA: Peabody Museum of American Archaeology and Ethnology, 1893.Google Scholar

Friedberg, Ruth C. “Selected Settings of European Texts by American Song Composers.” Journal of Singing 71, no. 5 (May/June 2015): 559–71.Google Scholar

Gates, Eugene. “Mrs. H. H. A. Beach: American Symphonist.” The Kapralova Society Journal 8, no. 2 (Fall 2010): 1–7; 9–10. www.kapralova.org/journal15.pdf Google Scholar

Gerk, Sarah. “‘Common Joys, Sorrows, Adventures, and Struggles’: Transnational Encounters in Amy Beach’s ‘Gaelic’ Symphony,” Journal of the Society for American Music 10, no. 2 (May 2016): 149–80.CrossRef Google Scholar

“Glickman to Appear with Merion Orchestra.” The Philadelphia Public Ledger, March 2, 1978, p. 17.Google Scholar

Goetschius, Percy. Mrs. H. H. A. Beach. Boston: A. P. Schmidt, 1906. https://imslp.org/wiki/Mrs._H._H._A._Beach_(Goetschius%2C_Percy).Google Scholar

Gottlieb, Lynette Miller. “Composing Oneself: Amy Beach, Ruth Crawford, and Their Declarations of Independence.” Women of Note Quarterly 9, no. 1 (2005): 18–23.Google Scholar

Hisama, Ellie. “Feminist Scholarship as a Social Act: Remembering Adrienne Fried Block.” American Music Review 39, no. 1 (Fall 2009): 1, 3.Google Scholar

Holland, Bernard. “A Composer Who Made Her Timely Choice.” New York Times, May 15, 1995, p. C15.Google Scholar

Horowitz, Joseph. “Beach, Chadwick: New World Symphonists: Native New World Symphonies.” New York Times, October 27, 1991, p. H25.Google Scholar

Horowitz, Joseph. “Reclaiming the Past: Musical Boston Reconsidered.” American Music 19, no. 1 (2001): 18–38.Google Scholar

Howard, John Tasker. Our American Music. New York: Crowell, 1931.Google Scholar

Howe, Mark Anthony DeWolfe. The Boston Symphony Orchestra: 1881–1931. 2nd ed. Revised and extended in collaboration with Burk, John N.. Cambridge, MA: The Riverside Press, 1931.Google Scholar

Hughes, Rupert. Famous American Composers. Boston, MA: L. C. Page and Co., 1900.Google Scholar

Jenkins, Walter S. The Remarkable Mrs. Beach, American Composer: A Biographical Account Based on Her Diaries, Letters, Newspaper Clippings, and Personal Reminiscences. Ed. Baron, John H. Michigan: Harmonie Park Press, 1994.Google Scholar

Kandell, Leslie. “A Composer at Last Comes into Her Own.” New York Times, March 14, 1999, p. NJ14.Google Scholar

Kelton, Mary Katherine. “Mrs. H. H. A. Beach and Her Songs for Solo Voice.” Journal of Singing 52, no. 3 (January/February 1996): 3–23.Google Scholar

Kinney, Edith Gertrude. “Mrs. H. H. A. Beach.” The Musician 4, no. 9 (September 1899): 355.Google Scholar

Kinscella, Hazel Gertrude. “Play No Piece in Public When First Learned, Says Mrs. Beach.” Musical America 28, no. 19 (September 7, 1918): 9.Google Scholar

Kozinn, Allan. “Is It Artistry or Wishful Thinking?” New York Times, September 22, 1998, p. E3.Google Scholar

Latham, Edward D. “Gapped Lines and Ghostly Flowers in Amy Beach’s ‘Phantoms,’ op. 15, no. 2.” In Analytical Essays on Music by Women Composers, Secular & Sacred Music to 1900. Ed. Parsons, Laurel and Ravenscroft, Brenda. New York: Oxford University Press, 2018. Pp. 228–42.Google Scholar

Ledeen, Lydia Hailparn. “Remembering Amy Beach: A Conversation with David Buxbaum.” IAWM Journal: International Alliance for Women in Music 6, nos. 1–2 (2000): 17.Google Scholar

Logan, Jeremy. “Synaesthesia and Feminism: A Case Study on Amy Beach (1867–1944).” New Sound: International Magazine for Music 46 (2015): 130–40.Google Scholar

MacDonald, Claudia. “Critical Reception and the Woman Composer: The Early Reception of Piano Concertos by Clara Wieck Schumann and Amy Beach.” Current Musicology 55 (Fall 1993): 24–55.Google Scholar

Malawey, Victoria. “Strophic Modification in Songs by Amy Beach.” Music Theory Online 20, no. 4 (December 2014): 1–15.Google Scholar

Mardinly, Susan. “Amy Beach: Muse, Conscience, and Society.” Journal of Singing 70, no. 5 (May/June 2014): 527–40.Google Scholar

McGlinchee, Claire. “American Literature in American Music.” Musical Quarterly 31, no. 1 (January 1945): 101–19.Google Scholar

Orr, N. Lee, and Hardin, W. Dan. Choral Music in Nineteenth-Century America: A Guide to the Sources. Lanham, MD: Scarecrow Press, 1999.Google Scholar

Peeler, Clare P. “American Woman Whose Musical Message Thrilled Germany.” Musical America 20, no. 24 (October 17, 1914): 7.Google Scholar

Pendle, Karin, and Boyd, Melinda. Women in Music: A Research and Information Guide. 2nd ed. Routledge Music Bibliographies. New York: Routledge Taylor and Francis Group, 2010.Google Scholar

Petteys, M. Leslie. “‘Cabildo’ by Amy March Beach.” Opera Journal 22, no. 1 (1989): 10–20.Google Scholar

Pisani, Michael V. Imagining Native America in Music. New Haven, CT: Yale University Press, 2005.Google Scholar

Radell, Judith. “Sphere of Influence: Clara Kathleen Rogers and Amy Beach.” In Essays on Music and Culture in Honor of Herbert Kellman. Ed. Haggh, Barbara Helen. Paris: Minerve, 2001. Pp. 503–17.Google Scholar

Rausch, Robin. “The MacDowells and Their Legacy.” In A Place for the Arts, The MacDowell Colony 1907–2007. Ed. Wiseman, Carter. Lebanon, NH: University Press of New England, 2006. Pp. 50–132.Google Scholar

Reynolds, Christopher. “Documenting the Zenith of Women Song Composers: A Database of Songs Published in the United States and the British Commonwealth, ca. 1890–1930.” Notes 69, no. 4 (June 2013): 671–87.Google Scholar

Reynolds, Christopher Alan. Motives for Allusion: Context and Content in Nineteenth-Century Music. Cambridge, MA: Harvard University Press, 2003.Google Scholar

Robin, William. “Even So, Her Works Have Persisted: Celebrating the Composer Amy Beach on Her 150th Birthday.” New York Times, September 3, 2017, p. AR7.Google Scholar

Shadle, Douglas W. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise. New York: Oxford University Press, 2016.Google Scholar

Smith, Gail. “Amy Beach: Celebrating 150 Years.” Clavier Companion 9, no. 2 (March/April 2017): 46–49.Google Scholar

Smith, Joseph. “Amy Beach: Out in the Cold.” Piano Today 27, no. 1 (Winter 2007): 7–19.Google Scholar

Sonneck, Oscar G. “American Composers and the American Music Publisher.” Musical Quarterly 9 (January 1923): 122–44.Google Scholar

Sparkhall, Olivia. “Amy Beach: ‘St. Paul’s Benediction’ (1891).” Women & Music 24 (2020): 127–29.CrossRef Google Scholar

Spitzer, John. American Orchestras in the Nineteenth Century. Chicago: University of Chicago Press, 2012.Google Scholar

Stevens, Clare. “Choral Music of Amy Beach and Randall Thompson.” Choir & Organ 10, no. 6 (November/December 2002): 82–83.Google Scholar

Strauss, William, and Howe, Neil. Generations: The History of America’s Future, 1584–2069. New York: William Morrow, 1991.Google Scholar

Thompson, Berenice. “Music and Musicians: Mrs. Beach’s Songs.” Washington Post, January 17, 1904, p. E11.Google Scholar

Tick, Judith. “Passed Away Is the Piano Girl: Changes in American Musical Life: 1870–1900.” In Women Making Music: The Western Art Tradition, 1150–1950. Ed. Bowers, Jane and Tick, Judith. Urbana: University of Illinois Press, 1986. Pp. 325–48.Google Scholar

Tick, Judith. “Women as Professional Musicians in the United States, 1870–1900.” Anuario Interamericano de Investigacion Musical 9 (1973): 95–133.Google Scholar

Tsou, Judy. “Unpublished Song by Amy Beach Discovered.” Society for American Music Bulletin 37, no. 1 (Winter 2011): 1–4.Google Scholar

Tuthill, Burnet C. “Mrs. H. H. A. Beach,” Musical Quarterly 26, no. 3 (July 1940): 297–310.Google Scholar

Upton, George P. Woman in Music. Boston: J. R. Osgood, 1880.Google Scholar

Valdivia, Hector. “Amy Beach.” In Women Composers: Music Through the Ages, vol. 8, Composers Born 1800–1899: Large and Small Instrumental Ensembles. Ed. Glickman, Sylvia and Schleifer, Martha Furman. New York: G. K. Hall, 2006. Pp. 369–95.Google Scholar

Vernazza, Marcelle Wynn. “Amy Beach and Her Music for Children.” American Music Teacher 30, no. 6 (1981): 20–21.Google Scholar

“Very Good for an American”: Essays on Edward MacDowell. Ed. Douglas Bomberger, E.. Hillsdale, NY: Pendragon Press, 2017.Google Scholar

Von Glahn, Denise. “American Women and the Nature of Identity.” Journal of the American Musicological Society 64, no. 2 (2011): 399–403.Google Scholar

Von Glahn, Denise. Music and the Skillful Listener: American Women Compose the Natural World. Bloomington: Indiana University Press, 2013.Google Scholar

Ward, Lucile Parrish, A Musical of 100 Years: A History of the National Federation of Music Clubs. Greenville, SC: A Press, 1995.Google Scholar

Webster, Daniel. “Welcome Revival for Amy Cheney.” The Philadelphia Public Ledger, April 24, 1977.Google Scholar

Whitesett, Linda. “Women as ‘Keepers of Culture’: Music Clubs, Community Concert Series, and Symphony Orchestras.” In Cultivating Music in America: Women Patrons and Activists since 1860, ed. Locke, Ralph P. and Barr, Cyrilla. Berkeley: University of California Press, 1997. Pp. 65–86.Google Scholar

Wilson, Arthur. “Mrs. H. H. A. Beach: A Conversation on Musical Conditions in America.” The Musician 17, no. 1 (January 1912): 9.Google Scholar

Wilson, Jennifer C. H. J. “Conference Report: ‘American Women Pianist-Composers: A Celebration of Amy Beach and Teresa Carreño.” Society for American Music Bulletin 44, no. 1 (Winter 2018): 14–15.Google Scholar

Wilson Kimber, Marian. “Women Composers at the White House: The National League of American Pen Women and Phyllis Fergus’s Advocacy for Women in American Music.” Journal of the Society for American Music 12, no. 4 (November 2018): 477–507.Google Scholar

Women Making Music: The Western Art Tradition, 1150–1950. Ed. Bowers, Jane and Tick, Judith. Urbana: University of Illinois Press, 1986.Google Scholar

Wright, David. “A Lady, She Wrote Music Nonetheless.” New York Times, September 6, 1998, p. AR23.Google Scholar

Aaron, Clarissa E. “A Story of Feminine Sacrifice: The Music, Text, and Biographical Connections in Amy Beach’s Concert Aria Jephthah’s Daughter.” Thesis, Seattle Pacific University, 2018.Google Scholar

Alfeld, Anna Poulin. “Unsung Songs: Self-Borrowing in Amy Beach’s Instrumental Compositions.” MM thesis, University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1217521725 Google Scholar

Baker, Monica Schultz. “Amy Beach for the New Generation: The Effects of Increased Interest in Beach’s Works on the Current Place in the Performance Canon of Concerto for Piano and Orchestra in C-Sharp Minor, op. 45.” DMA dissertation, University of Alabama at Tuscaloosa, 2019.Google Scholar

Blunsom, Laurie K. “Gender, Genre, and Professionalism: The Songs of Clara Rogers, Helen Hopekirk, Amy Beach, Margaret Lang and Mabel Daniels, 1880–1925.” PhD dissertation, Brandeis University, 1999.Google Scholar

Bracken, Patricia J. “A Guide for the Study of Selected Solo Vocal Works of Mrs. H. H. A. Beach (1867–1944).” DMA dissertation, Southern Baptist Theological Seminary, 1992.Google Scholar

Brittain, Charles. “Festival Jubilate, op. 17 by Amy Cheney Beach (1867–1944): A Performing Edition.” DMA dissertation, University of North Carolina at Greensboro, 1994.Google Scholar

Brown, Jeannell Elizabeth Wise. “Amy Beach and Her Chamber Music: Biography, Documents, Style.” PhD dissertation, University of Maryland at College Park, 1993.Google Scholar

Buchanan, Elizabeth Moore. “The Anthems and Service Music of Amy Beach Published by the Arthur P. Schmidt Company.” MA thesis, American University, 1996.Google Scholar

Burgess, Stephanie J. “Finding the ‘Indian’ in Amy Beach’s Theme and Variations for Flute and String Quartet, op. 80.” MM thesis, University of North Texas, 2007. https://pqdtopen-proquest-com.proxy-etown.klnpa.org/doc/304828770.html?FMT=AI&pubnum=1452035 Google Scholar

Burnaman, Stephen Paul. “The Solo Piano Music of Edward MacDowell and Mrs. H. H. A. Beach: An Analysis.” DMA dissertation, University of Texas–Austin, 1997.Google Scholar

Clark, Donna Elizabeth Congleton. “Pedagogical Analysis and Sequencing of Selected Intermediate-Level Solo Piano Compositions of Amy Beach.” DMA dissertation, University of South Carolina, 1996.Google Scholar

Eden, Myrna Garvey. “Anna Hyatt Huntington, Sculptor, and Mrs. H. H. A. Beach, Composer: A Comparative Study of Two Women Representatives of the American Cultivated Tradition in the Arts.” PhD dissertation, Syracuse University, 1977.Google Scholar

Gallagher, Ruth. “A Stylistic Examination of Shakespeare’s Texts Set for Solo Voice by Amy Beach, Elizabeth Maconchy and Madeleine Dring.” MA thesis, Waterford Institute of Technology, 2013. https://repository.wit.ie/2734/1/Final%20doc.pdf Google Scholar

Gardner, Kara Anne. “Living by the Ladies’ Smiles: The Feminization of American Music and the Modernist Reaction.” PhD dissertation, Stanford University, 1999.Google Scholar

Gearheart, Madelyn Spring. “The Life and Solo Vocal Works of Amy Marcy Cheney Beach (1867–1944).” EdD dissertation, Columbia University Teachers College, 1998.Google Scholar

Gerk, Sarah Rebecca. “Away O’er the Ocean Go Journeymen, Cowboys, and Fiddlers: The Irish in Nineteenth-Century American Music.” PhD dissertation, University of Michigan, 2014. http://hdl.handle.net/2027.42/110488 Google Scholar

Gerk, Sarah. “A Critical Reception History of Amy Beach’s Gaelic Symphony.” MA thesis, California State University–Long Beach, 2006.Google Scholar

Hung, Yu-Hsien Judy. “The Violin Sonata of Amy Beach.” DMA dissertation, Louisiana State University, 2005.Google Scholar

Indenbaum, Dorothy. “Mary Howe: Composer, Pianist and Music Activist.” PhD dissertation, New York University, 1993.Google Scholar

Kelton, Mary Katherine. “The Songs of Mrs. H. H. A. Beach.” DMA dissertation, University of Texas at Austin, 1992.Google Scholar

Kuby, Dathryn Amelia. “Analysis of Amy Cheney Beach’s Gaelic Symphony, op. 32.” DMA dissertation, University of Connecticut, 2011.Google Scholar

Laemmli, Amy. “Amy Beach: The Victorian Woman, the Autism Spectrum, and Composition Style.” MA thesis, University of Missouri–Columbia, 2012. https://mospace.umsystem.edu/xmlui/bitstream/handle/10355/15276/research.pdf?sequence=2&isAllowed=y Google Scholar

Llewellyn, Sharon. “Amy Beach and Judith Lang Zaimont: A Comparative Study of Their Lives and Songs.” DMA dissertation, Arizona State University, 2008.Google Scholar

Merrill, Lindsey E. “Mrs. H. H. A. Beach: Her Life and Music.” PhD dissertation, University of Rochester, 1963.Google Scholar

Miles, Marmaduke. “The Solo Piano Works of Mrs. H. H. A. Beach.” DMA dissertation, Peabody Conservatory, 1985.Google Scholar

Miller, Carla Anita. “A Pedagogical Perspective on Selected Piano Music of Amy Beach.” Master’s thesis, Western Carolina University, 1996.Google Scholar

Petracca, Eleanor Frances. “From the Parlor to the Stage: Women Composers and the 1893 World’s Columbian Exposition in Chicago.” MM thesis, California State University–Long Beach, 2012.Google Scholar

Piscitelli, Felicia Ann. “The Chamber Music of Mrs. H. H. A. Beach (1867–1944).” MM thesis, University of New Mexico, 1983.Google Scholar

Powlison, Nicole. “Amy Beach’s Cabildo: An American Opera.” PhD dissertation, Florida State University, 2017.Google Scholar

Reigles, B. Jean. “The Choral Music of Amy Beach.” PhD dissertation, Texas Tech University, 1996. http://hdl.handle.net/2346/19154 Google Scholar

Rich, Erin Marie. “Accent Patterns in Text and Music in the Songs of Amy Beach, Richard Strauss, and Camille Saint-Saëns.” MA thesis, University of Iowa, 2016.Google Scholar

Robinson, Nicole Marie. “‘To the Girl Who Wants to Compose’: Amy Beach as a Music Educator.” MM thesis, Florida State University, 2013. https://diginole.lib.fsu.edu/islandora/object/fsu:183883/datastream/PDF/view Google Scholar

Rushing, Katrina Carlson. “Amy Beach’s Concerto for Piano and Orchestra in C-Sharp Minor, op. 45: A Historical, Stylistic, and Analytical Study.” DMA dissertation, Louisiana State University, 2000. https://digitalcommons.lsu.edu/cgi/viewcontent.cgi?article=8225&context=gradschool_disstheses Google Scholar

Schnepel, Julie. “The Critical Pursuit of the Great American Symphony, 1893–1950.” PhD dissertation, Indiana University, 1995. UMI 96–08607.Google Scholar

Schultz, Geralyn. “Influences of Cultural Ideals of Womanhood on the Musical Career of Mrs. H. H. A. Beach.” MA thesis, University of Wyoming, 1994.Google Scholar

Sears, Elizabeth Ann. “The Art Song in Boston, 1880–1914.” PhD dissertation, the Catholic University of America, 1993.Google Scholar

Song, Chang-Jin. “Pianism in Selected Partsong Accompaniments and Chamber Music of the Second New England School (Amy Beach, Arthur Foote, George Whitefield Chadwick, and Horatio Parker), 1880–1930.” PhD dissertation, Ball State University, 2005.Google Scholar

Song, Yoon. “Amy Beach Piano Quintet, op. 67.” DMA dissertation, Manhattan School of Music, 2011.Google Scholar

Streety, Jule Josef. “The Second New England School and Helen Hopekirk: A Case Study in American Music Historiography.” MM thesis, University of Arizona, 2019. https://repository.arizona.edu/bitstream/handle/10150/634378/azu_etd_17396_sip1_m.pdf?sequence=1&isAllowed=y Google Scholar

Treybig, Carolyn Marie. “Amy Beach: An Investigation and Analysis of the Theme and Variations for Flute and String Quartet, op. 80.” DMA dissertation, University of Texas, 1999.Google Scholar

Walker, Tammie Leigh. “The Quintet for Piano and Strings, op. 67 by Amy Beach: An Historical and Stylistic Investigation.” DMA dissertation, University of Illinois at Urbana-Champaign, 2001. http://hdl.handle.net/2142/85696 Google Scholar

Yang, Ching-Lin. “An Analytical Study of the Piano Concerto in C-Sharp Minor, Op. 45, by Amy Beach.” PhD dissertation, University of Northern Colorado, 1999.Google Scholar

Zerkle, Paula Ring. “A Study of Amy Beach’s Grand Mass in E flat Major, Op. 5.” PhD dissertation, Indiana University, 1998.Google Scholar

Book contents

Select Bibliography

Summary

Access options

References

Primary Sources

Secondary Sources

Save book to Kindle

Save book to Dropbox

Save book to Google Drive