Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-gbm5v Total loading time: 0 Render date: 2024-12-18T05:15:22.301Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  23 May 2024

Matthew Head
Affiliation:
King's College London
Susan Wollenberg
Affiliation:
University of Oxford
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2024

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

Agnesi, Maria Gaetana. Analytical Institutions, in Four Books: Translated into English by the Late Rev. John Colson (London: Taylor and Wilks, 1801).Google Scholar
Albisetti, James C.The Fight for Female Physicians in Imperial Germany’, Central European History, 15/2 (1982), 99123.CrossRefGoogle ScholarPubMed
Aleotti, Vittoria [Raffaella]. Ghirlanda de madrigali a quatro voci, ed. Carruthers, C. Ann (New York: Broude Trust, 1994).Google Scholar
Al-Jāhiz, Abū Uthman Amr Ibn Bahr. Risalat al-Qiyan, ed. and transl. Beeston, A. F. L. as The Epistle on Singing-Girls of Jāhiz (Warminster: Aris & Phillips, 1980).Google Scholar
Al-Tanji, Muhammad ibn Tawit, ‘Al-Tara’iq wa’l-alhan al-musiqiyya fi Ifriqiya wa’l-Andalus’, Al-Abhath, 21 (1968), 93116.Google Scholar
Altstatt, Alison N.Re-membering the Wilton Processional’, Notes, 72 (2016), 690732.CrossRefGoogle Scholar
Altstatt, Alison N.The Rogationtide Processions of Wilton Abbey’, Yale Journal of Music & Religion, 2/2 (2016), article 3, https://doi.org/10.17132/2377-231X.1059.CrossRefGoogle Scholar
Al-Udhari, Abdullah (ed. and transl.). Classical Poems by Arab Women: A Bilingual Anthology (London: Saqi Books, 1999).Google Scholar
Al-Washsha, Ibn. Le Livre de brocart (The Book of Brocades), transl. Siham Bouhlal (Paris: Editions Gallimard, 2004).Google Scholar
Ananieva, Anna. ‘Medien und Praktiken der eleganten Welt: Annäherungen an einen urbanen Lebensentwurf des 19. Jahrhunderts’, in [exhibition catalogue] Zirkulation von Nachrichten und Waren: Stadtleben, Medien und Konsum im 19. Jahrhundert (Tübingen: Universitätsbibliothek Tübingen, 2016), 1124, http://dx.doi.org/10.15496/publikation-12233.Google Scholar
Andersen-Wyman, Kathleen. Andreas Capellanus on Love? Desire, Seduction, and Subversion in a Twelfth-Century Latin Text (New York: Palgrave, 2007).Google Scholar
Anderson, Laurie. Big Science. LP/CD/DL (New York: Warner Bros, 1982).Google Scholar
Anderson, Laurie. United States (New York: Harper & Row, 1984).Google ScholarPubMed
Anderson, Laurie. United States I–IV Live. 4 CDs (New York: Warner Bros, 1984).Google Scholar
Anon, . ‘Dr. Ethel Smyth’s Concert’, Times (3 April 1911).Google Scholar
Anon, . ‘Musical Doings’, Queen (3 February 1912), 56.Google Scholar
Anon, . ‘A New “Everyman”’, Times (29 December 1915), 11.Google Scholar
Anon, . ‘Paris Notes. Augusta Holmès’, Globe (31 January 1903), 5.Google Scholar
Anon, . ‘Women in Orchestras’, Common Cause: The Organ of the National Union of Women’s Suffrage Societies (24 October 1913), 3.Google Scholar
Artusi, Giovanni Maria. L’Artusi, ovvero delle imperfettioni della moderna musica ragionamenti dui (Venice: Giacomo Vincenti, 1600).Google Scholar
Åse, Tone, and Jawad, Karolina. ‘Interview with Pamela Z’, WoNoMute [website of Women Nordic Music Technology] (20 February 2020). http://wonomute.no/interviews/pamela-z/.Google Scholar
Asquith, Margot. More Memories (London: Cassell, 1933).Google Scholar
Austern, Linda Phyllis. Both from the Ears and Mind: Thinking about Music in Early Modern England (Chicago, IL: University of Chicago Press, 2020).CrossRefGoogle Scholar
Baade, Colleen. ‘Nun Musicians as Teachers and Students in Early Modern Spain’, in Murray, Russell E. Jr. and Cyrus, Cynthia J. (eds.), Music Education in the Middle Ages and the Renaissance (Bloomington, IN: Indiana University Press, 2010), 262–83.Google Scholar
Baade, Colleen. ‘Music and Misgiving: Attitudes towards Nuns’ Music in Early Modern Spain’, in van Wyhe, Cordula, ed., Female Monasticism in Early Modern Europe: An Interdisciplinary View (London: Routledge, 2017), 8196.Google Scholar
Bain, Jennifer. ‘History of a Book: Hildegard of Bingen’s “Riesencodex” and World War II’, Plainsong and Medieval Music, 27 (2018), 143–70.CrossRefGoogle Scholar
Bain, Jennifer, ed. The Cambridge Companion to Hildegard of Bingen (Cambridge: Cambridge University Press, 2021).CrossRefGoogle Scholar
Baker, Geoffrey. Imposing Harmony: Music and Society in Colonial Cuzco (Durham, NC: Duke University Press, 2008).Google Scholar
Baker, Vicki D.Inclusion of Women Composers in College Music History Textbooks’, Journal of Historical Research in Music Education, 25 (2003), 519.CrossRefGoogle Scholar
Baldauf-Berdes, Jane L. Women Musicians of Venice: Musical Foundations, 1525–1855 (rev. ed., Oxford: Clarendon Press, 1996).Google Scholar
Bale, Peter. ‘How Delia Derbyshire Made the Doctor Who Theme Music’. Tomorrow’s World, London: BBC One TV, 1965, www.youtube.com/watch?v=qsRuhCflRyg&t=173s.Google Scholar
Ballstaedt, Andreas. ‘Salonmusik’, in Finscher, Ludwig, ed., Die Musik in Geschichte und Gegenwart, 2nd ed. (Cassel: Bärenreiter, 1994–2008), Sachteil 8; MGG Online, ed. Laurenz Lütteken (2016), www.mgg-online.com/mgg/stable/11483.Google Scholar
Banfield, Stephen. Sensibility and English Song (Cambridge: Cambridge University Press, 1985).Google Scholar
Banfield, Stephen. ‘“Too Much of Albion”? Mrs. Coolidge and Her British Connections’, American Music, 4 (1986), 5988.CrossRefGoogle Scholar
Barr, Cyrilla. ‘The Musicological Legacy of Elizabeth Sprague Coolidge’, Journal of Musicology, 11/2 (1993), 250–68.CrossRefGoogle Scholar
Barr, Cyrilla. ‘A Style of Her Own: The Patronage of Elizabeth Sprague Coolidge’, in Locke, Ralph P. and Barr, Cyrilla, eds., Cultivating Music in America: Women Patrons and Activists since 1860 (Berkeley, CA: University of California Press, 1997), 185203.Google Scholar
Bartsch, Cornelia. ‘Lea Mendelssohn Bartholdy (1777–1842): “In voller geistiger Lebendigkeit”’, in Hundt, Irina, ed., Vom Salon zur Barrikade: Frauen der Heinezeit (Stuttgart: J. B. Metzler, 2002), 6173.CrossRefGoogle Scholar
Bartsch, Cornelia, Grotjahn, Rebecca, and Unseld, Melanie, eds., Felsensprengerin, Brückenbauerin, Wegbereiterin. Die Komponistin Ethel Smyth/Rock Blaster, Bridge Builder, Road Paver: The Composer Ethel Smyth (Proceedings of the International Symposium, Detmold, 2008), Beiträge zur Kulturgeschichte der Musik, Band 2 (Munich: Allitera Verlag, 2010).Google Scholar
Battersby, Christine. Gender and Genius: Towards a Feminist Aesthetics (London: The Women’s Press, 1989; repr. Bloomington, IN: Indiana University Press, 1990).CrossRefGoogle Scholar
Bauman, Thomas. North German Opera in the Age of Goethe (Cambridge: Cambridge University Press, 1985).Google Scholar
Beach, Alison I. Women as Scribes: Book Production and Monastic Reform in Twelfth-Century Bavaria (Cambridge: Cambridge University Press, 2004).Google Scholar
Beach, Amy. Gaelic Symphony; Piano Concerto, Nashville Symphony Orchestra cond. Kenneth Schermerhorn, Naxos Classics: 8559139 (2003).Google Scholar
Beard, Mary. Women and Power: A Manifesto (London: Profile Books, 2017).Google Scholar
Beausang, Ita and de Barra, Séamus. Ina Boyle 18891967: A Composer’s Life (Cork: Cork University Press, 2018).Google Scholar
Bennett, Judith M. and Karras, Ruth Mazo, eds. The Oxford Handbook of Women and Gender in Medieval Europe (Oxford: Oxford University Press, 2013).CrossRefGoogle Scholar
Bent, Margaret and Wathey, Andrew, eds. Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France, MS Français 146 (Oxford: Clarendon Press, 1998).Google Scholar
Berg, Darrell. ‘Carl Philipp Emanuel Bach und die “empfindsame Weise”’, in Marx, Hans Joachim, ed., Carl Philipp Emanuel Bach und die europäische Musikkultur des mittleren 18. Jahrhunderts (Göttingen: Vandenhoeck & Ruprecht, 1990), 93105.Google Scholar
Bernard, Girard. Entretiens avec Éliane Radigue (Château-Gontier: Éditions Aedam Musicae, 2013).Google Scholar
Bernstein, David W., ed., The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde (Berkeley, CA: University of California Press, 2008).Google Scholar
Bernstein, Jane A. Music Printing in Renaissance Venice: The Scotto Press (15391572) (New York and Oxford: Oxford University Press, 1998).CrossRefGoogle Scholar
Bertoglio, Chiara. Reforming Music: Music and the Religious Reformations of the Sixteenth Century (Berlin: De Gruyter, 2017).CrossRefGoogle Scholar
Bingen, Hildegard of. The Letters of Hildegard of Bingen, vol. 1, ed. and transl. Baird, Joseph L. and Ehrman, Radd K. (Oxford: Oxford University Press, 1994).Google Scholar
Bingen, Hildegard of. Liber Scivias. Faksimile des Rüdesheimer Codex aus der Benediktinerinnenabtei St. Hildegard (Graz: Akademische Druck- u. Verlagsanstalt, 2013).Google Scholar
Bischoff, Bernhard. ‘Die Kölner Nonnenhandschriften und das Skriptorium von Chelles’, in Mittelalterliche Studien. Ausgewählte Aufsätze zur Schriftkunde und Literaturgeschichte, vol. 1 (Stuttgart: Hirsemann, 1966), 1634.Google Scholar
Blevins, Pamela. Ivor Gurney and Marion Scott: Song of Pain and Beauty (Woodbridge: Boydell Press, 2008).Google Scholar
Block, Adrienne Fried. ‘A “Veritable Autobiography”? Amy Beach’s Piano Concerto in C-sharp Minor, Op. 45’, Musical Quarterly, 78/2 (1994), 394416.CrossRefGoogle Scholar
Block, Adrienne Fried. Amy Beach: Passionate Victorian – The Life and Work of an American Composer 18671944 (New York: Oxford University Press, 1998).Google Scholar
Boise, Sam de. ‘Men, Masculinities and Music’, in Gottzén, Lucas, Mellström, Ulf, and Shefer, Tamara, eds., Routledge International Handbook of Masculinity Studies (Abingdon: Routledge, 2019), 414–24.Google Scholar
Bonnet, François J. The Order of Sounds: A Sonorous Archipelago, transl. Mackay, R. (Falmouth: Urbanomic Media, 2016).Google Scholar
Bonneuil, Noël. ‘Arrival of Courtly Love: Moving in the Emotional Space’, History and Theory, 55 (2016), 253–69.CrossRefGoogle Scholar
Boom, Sonic (stage name of Peter Kember). ‘Delia Derbyshire: Electronic Music Pioneer’, Surface (May 2000), www.delia-derbyshire.org/interview_surface.php.Google Scholar
Borchard, Beatrix, and Cornelia, Bartsch. ‘Leipziger Straße Drei: Sites for Music’, in Susan, Wollenberg, ed., ‘Fanny Hensel (née Mendelssohn Bartholdy) and Her Circle’: Proceedings of the Bicentenary Conference, Oxford, July 2005, special issue, Nineteenth-Century Music Review, 4/2 (November 2007), 119–38.CrossRefGoogle Scholar
Born, Georgina, and Devine, Kyle. ‘Introduction: Gender, Creativity and Education in Digital Musics and Sound Art’, Contemporary Music Review, 35/1 (2016), 120.CrossRefGoogle Scholar
Borowski, Felix. ‘Amateur Composers’, Etude Magazine (November 1925), https://etudemagazine.com/etude/1925/11/amateur-composers.html.Google Scholar
Boscolo, Lucia. ‘Una composizione a 4 voci in notazione quadrata nel codice fiorentino di Bruxelles 27766’, in Cattin, Giulio and Gallo, F. Alberto, eds., Un millennio di polifonia liturgica tra oralità e scrittura (Venice: Società Editrice Il Mulino, 2002), 1118.Google Scholar
Bosma, Hannah. ‘Bodies of Evidence, Singing Cyborgs and Other Gender Issues in Electrovocal Music’, Organised Sound, 8/1 (2003), 517.CrossRefGoogle Scholar
Bosma, Hannah. ‘Musical Washing Machines, Composer-Performers, and Other Blurring Boundaries: How Women Make a Difference in Electroacoustic Music’, Intersections, 26/2 (2006), 97117.CrossRefGoogle Scholar
Bottegari, Cosimo. Il libro di canto e liuto, ed. Fabris, Dinko and Griffiths, John (Bologna: Arnaldo Forni Editore, 2006).Google Scholar
Bourges, Maurice. ‘Des Femmes-Compositeurs’, Revue et Gazette musicale de Paris (19–26 September 1847), 305–7, 313–15.Google Scholar
Bowden, Caroline. ‘Women in Educational Spaces’, in Knoppers, Laura Lunga, ed., The Cambridge Companion to Early Modern Women’s Writing (Cambridge: Cambridge University Press, 2009), 8596.CrossRefGoogle Scholar
Bowers, Jane. ‘The Emergence of Women Composers in Italy, 1566–1700’, in Bowers, Jane and Tick, Judith, eds., Women Making Music: The Western Art Tradition, 11501950 (Urbana: University of Illinois Press, 1987), 116–67.Google Scholar
Bowers, Jane. ‘Teaching about the History of Women in Western Music’, Women’s Studies Newsletter, 5 (1977), 1115.Google Scholar
Boyd, Melinda. ‘Gendered Voices: The Liebesfrühling Lieder of Robert and Clara Schumann’, 19th-Century Music, 23/2 (1999), 145–62.CrossRefGoogle Scholar
Boynton, Susan. ‘Women’s Performance of Medieval Lyric’, in Medieval Woman’s Song: Cross-Cultural Approaches, ed. Klinck, Anne L. and Rasmussen, Ann Marie (Philadelphia: University of Pennsylvania Press, 2015), 4765.Google Scholar
Boynton, Susan and Reilly, Diane J., eds. Resounding Images: Medieval Intersections of Art, Music, and Sound – Studies in the Visual Cultures of the Middle Ages (Turnhout: Brepols, 2015).CrossRefGoogle Scholar
Bradley, Catherine A. Polyphony in Medieval Paris: The Art of Composing with Plainchant (Cambridge: Cambridge University Press, 2018).CrossRefGoogle Scholar
Brenet, Michel [Marie Bobillier]. ‘La Musique dans les couvents de femmes depuis le moyen âge jusqu’à nos jours’, La Tribune de Saint-Gervais, 4me année [1898], 2531, 5861, 7381.Google Scholar
Brenet, Michel [Marie Bobillier]. ‘Quatre Femmes musiciennes: Jacquet de La Guerre, Hélène de Montgeroult, Louise Bertin, Louise Farrenc’, L’Art, 2/4 (1894), 107–12; 142–7; 177183; 183–7.Google Scholar
Broad, Leah. Quartet: How Four Women Changed the Musical World (London: Faber & Faber, 2023).Google Scholar
Brown, James D. and Stratton, Stephen S., eds. British Musical Biography: A Dictionary of Musical Artists, Authors and Composers, Born in Britain and its Colonies (1897; repr., Cambridge: Cambridge University Press, 2009).CrossRefGoogle Scholar
Brown, Rae Linda. The Heart of a Woman: The Life and Music of Florence B. Price (Urbana: University of Illinois Press, 2020).CrossRefGoogle Scholar
Brown, Shelina. ‘Scream from the Heart: Yoko Ono’s Rock and Roll Revolution’, Volume! La revue des musiques populaires, 9/2 (2012), 107–23.Google Scholar
Bryan-Wilson, Julia. ‘Remembering Yoko Ono’s Cut Piece’, Oxford Art Journal, 26/1 (2003), 99123.CrossRefGoogle Scholar
Bugyis, Katie. ‘Apian Transformations and the Paradoxes of Women’s Authorial Personae in Late Medieval England’, in Bugyis, Eric and Newheiser, David, eds., Desire, Faith, and the Darkness of God: Essays in Honor of Denys Turner (Notre Dame: University of Notre Dame Press, 2015), 129–52.CrossRefGoogle Scholar
Bugyis, Katie Ann-Marie. The Care of Nuns: Benedictine Women’s Ministries in England during the Central Middle Ages (Oxford: Oxford University Press, 2019).CrossRefGoogle Scholar
Bugyis, Katie Ann-Marie. ‘Female Monastic Cantors and Sacristans in Central Medieval England: Four Sketches’, in Bugyis, Katie Ann-Marie, Kraebel, A. B., and Fassler, Margot E., eds., Medieval Cantors and Their Craft: Music, Liturgy and the Shaping of History, 8001500 (Woodbridge: Boydell Press, 2017), 151–70.CrossRefGoogle Scholar
Bugyis, Katie Ann-Marie. ‘Women Priests at Barking Abbey in the Late Middle Ages’, in Kerby-Fulton, Kathryn, Bugyis, Katie Ann-Marie, and Van Engen, John, eds., Women Intellectuals and Leaders in the Middle Ages (Woodbridge: Boydell & Brewer, 2020), 319–34.Google Scholar
Bull, Michael. Sirens (New York: Bloomsbury, 2020).CrossRefGoogle Scholar
Bunch, Charlotte. Passionate Politics: Feminist Theory in Action: Essays, 1968–1986 (New York: St Martin’s Press, 1987).Google Scholar
Bunzel, Anja. ‘Clara and Robert Schumann’s Circles in Dresden: “I Take the Liberty to Request from You an Invitation … to Your Musical Matinée”’, in Davies, Joe, ed., Clara Schumann Studies (Cambridge: Cambridge University Press, 2021), 1331.CrossRefGoogle Scholar
Bunzel, Anja. ‘Johanna Kinkel’s Social Life in Berlin (1836–39): Reflections on Historiographical Sources’, in Bunzel, Anja and Loges, Natasha, eds., Musical Salon Culture in the Long Nineteenth Century (Woodbridge: Boydell, 2019), 1326.Google Scholar
Bunzel, Anja. The Songs of Johanna Kinkel: Genesis, Reception, Context (Woodbridge: Boydell, 2020).Google Scholar
Bunzel, Anja, and Loges, Natasha, eds. Musical Salon Culture in the Long Nineteenth Century (Woodbridge: Boydell, 2019).Google Scholar
Burney, Charles. The Present State of Music in Germany, the Netherlands, and United Provinces, 2 vols (London: T. Becket, 1773).Google Scholar
Burns, E. Jane. ‘Performing Courtliness’, in Bennett, Judith M. and Karras, Ruth Mazo, eds., The Oxford Handbook of Women and Gender in Medieval Europe (Oxford: Oxford University Press, 2013), 396408.Google Scholar
Burstein, L. Poundie. ‘Their Paths, Her Ways: Comparisons of Text Settings by Clara Schumann and Other Composers’, in Women & Music: A Journal of Gender and Culture, 6 (2002), 1126.Google Scholar
Buzwell, Greg. ‘Daughters of Decadence: The New Woman in the Victorian fin de siècle’ (2014), British Library website. www.bl.uk/romantics-and-victorians/articles/daughters-of-decadence-the-new-woman-in-the-victorian-fin-de-siecle.Google Scholar
Byrne Bodley, Lorraine. ‘In Pursuit of a Single Flame: Fanny Hensel’s “Musical Salon”’, in Kenny, Aisling and Wollenberg, Susan, eds., Women and the Nineteenth-Century Lied (Farnham: Ashgate, 2015), 4559.Google Scholar
Byrne, Vincent. ‘The Life and Works of Dorothy Howell’, MA diss. (University of Birmingham, 2015).Google Scholar
Cabrini, Michele. ‘The Composer’s Eye: Focalizing Judith in the Cantatas by Jacquet de la Guerre and Brossard’, Eighteenth-Century Music, 9/1 (2012), 945.CrossRefGoogle Scholar
Cadieux, Genevieve. ‘Art Now: Genevieve Cadieux: Broken Memory [1995]’ (Introduction to exhibition), www.tate.org.uk/whats-on/tate-britain/art-now-genevieve-cadieux-broken-memory.Google Scholar
Cage, John. Notations (New York: Something Else Press, 1969).Google Scholar
Cai, Camilla. ‘Texture and Gender: New Prisms for Understanding Hensel’s and Mendelssohn’s Piano Pieces’, in Witten, David, ed., Nineteenth-Century Piano Music: Essays in Performance and Analysis (New York: Garland Publishing, 1997), 5393.Google Scholar
Cametti, Alberto. Alcuni documenti inedita su la vita di Luigi Rossi compositore di musica (1597–1653) (Leipzig: Breitkopf & Härtel, 1912).Google Scholar
Cannon Levin, Alicia. ‘Seducing Paris: Piano Virtuosos and Artistic Identity, 1820–1848’, PhD diss. (University of North Carolina at Chapel Hill, 2009).Google Scholar
Cappella, Artemisia. Raphaella Aleotti and the Nuns of San Vito [CD] (Tactus, 2005).Google Scholar
Cardamone, Donna G.Isabella Medici-Orsini: A Portrait of Self-Affirmation’, in Borgerding, Todd, ed., Gender, Sexuality and Early Music (New York: Routledge, 2002).Google Scholar
Carrdus, Anna. ‘Margaretha Susanna von Kuntsch’, in Brown, Hilary, ed., Landmarks in German Women’s Writing (Bern: Peter Lang, 2007).Google Scholar
Carrer, Pinuccia, and Petrucci, Barbara. Liner notes for Elena da Simone (soprano), Maria Theresa Agnesi, Arie con Istrumenti, 1749 [CD] (Tactus: TC720101, 2020).Google Scholar
Carter, Stewart Arlen. ‘The Music of Isabella Leonarda (1620–1704)’, PhD diss. (Stanford University, 1982).Google Scholar
Catalunya, David. ‘The Customary of the Royal Convent of Las Huelgas of Burgos: Female Liturgy, Female Scribes’, Medievalia: Revista d’estudis Medievals, 20 (2017), 91160.CrossRefGoogle Scholar
Catalunya, David. ‘Nuns, Polyphony, and a Liégeois Cantor: New Light on the Las Huelgas “Solmization Song”’, Journal of the Alamire Foundation, 9 (2017), 89133.CrossRefGoogle Scholar
Cavazza, Marta. ‘Between Modesty and Spectacle: Women and Science in Eighteenth-Century Italy’, in Findlen, Paula, Roworth, Wendy Wassyng, and Sama, Catherine M., eds., Italy’s Eighteenth Century: Gender and Culture in the Age of the Grand Tour (Stanford, CA: Stanford University Press, 2009), 275302.Google Scholar
Cessac, Catherine. Elisabeth Jacquet de la Guerre: Une femme compositeur sous le règne de Louis XIV (Paris: Actes Sud, 1995).Google Scholar
Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music (Upper Saddle River, NJ: Prentice Hall, 1997).Google Scholar
Chaminade, Cécile. Piano Music (New York: Dover Publications, 2002).Google Scholar
Chaminade, Cécile. 6 Etudes de concert, Op. 35: No. 2, ‘Automne’, Cécile Chaminade (piano), YouTube httpww.yos://wutube.com/watch?v=KyJ6wBj-kcQ.Google Scholar
Christian, Angela Mace. ‘Improvisation, Elaboration, Composition: The Mendelssohns and the Classical Cadenza’, in Mendelssohn Perspectives, ed. Grimes, Nicole and Mace, Angela R. (Aldershot: Ashgate, 2012), 223–48.Google Scholar
Cimini, Amy, and Dietz, Bill, eds. Maryanne Amacher: Selected Writings and Interviews (Brooklyn, NY: Blank Forms, 2020).Google Scholar
Citron, Marcia. ‘A Bicentennial Reflection: Twenty-Five Years with Fanny Hensel’, in Susan, Wollenberg, ed., ‘Fanny Hensel (née Mendelssohn Bartholdy) and Her Circle’: Proceedings of the Bicentenary Conference, Oxford, July 2005, special issue, Nineteenth-Century Music Review, 4/2 (2007), 720.CrossRefGoogle Scholar
Citron, Marcia. ‘Cécile Chaminade’, in Briscoe, James R., ed., The New Historical Anthology of Music by Women (Bloomington: Indiana University Press, 2004), 243–56.Google Scholar
Citron, Marcia J.Feminist Approaches to Musicology’, in Cecilia Reclaimed: Feminist Perspectives on Gender and Music, ed. Cook, Susan C. and Tsou, Judy (Urbana: University of Illinois Press, 1994), 1534.Google Scholar
Citron, Marcia. Gender and the Musical Canon (Cambridge: Cambridge University Press, 1993).Google Scholar
Citron, Marcia J. The Letters of Fanny Hensel to Felix Mendelssohn: Collected, Edited and Translated with Introductory Essays and Notes (Stuyvesant, NY: Pendragon Press, 1987).Google Scholar
Citron, Marcia J.Women and the Lied, 1775–1850’, in Bowers, Jane and Tick, Judith, eds., Women Making Music: The Western Art Tradition, 1150–1950 (Urbana: University of Illinois Press, 1987), 224–48.Google Scholar
Clarke, Rebecca. ‘The Beethoven Quartets as a Player Sees Them’, Music & Letters, 8/2 (1927), 178–90.CrossRefGoogle Scholar
Clarke, Rebecca. I Had a Father Too: Or, The Mustard Spoon, unpublished document (private collection, Christopher Johnson).Google Scholar
Clarke, Rebecca. Letter to Elizabeth Sprague Coolidge, 28 September 1918 (Elizabeth Sprague Coolidge Foundation Collection, Music Division, Library of Congress).Google Scholar
Coghlan, Alexandra. ‘Women in Classical Music Are Being Thrust into the Spotlight for all the Wrong Reasons’, Rheingold Media, 1 October 2015. www.rhinegold.co.uk/classical_music/women-in-classical-music-are-being-thrust-into-the-spotlight-for-all-the-wrong-reasons-2/.Google Scholar
Cohen, Elizabeth Storr, and Reeves, Margaret Louise, eds. The Youth of Early Modern Women (Amsterdam: Amsterdam University Press, 2018).CrossRefGoogle Scholar
Collis, Louise. Impetuous Heart: The Story of Ethel Smyth (London: William Kimber, 1984).Google Scholar
Concannon, Kevin. ‘Yoko Ono’s “Cut Piece”: From Text to Performance and Back Again’, PAJ: A Journal of Performance and Art, 30/3 (2008), 8193.Google Scholar
Cummings, Graham. ‘Handel and the Confus’d Shepherdess’, Early Music, 33/4 (November 2005), 575–90.Google Scholar
Curran, Sean. ‘Hockets Broken and Integrated in Early Mensural Theory and an Early Motet’, Early Music History, 36 (2017), 31104.CrossRefGoogle Scholar
Curtis, Alan. ‘La musique classique française à Berkeley: Pièces inédites de Louis Couperin, Lebègue, La Barre, etc.’, Revue de musicologie, 56/2 (1970), 123–64.CrossRefGoogle Scholar
Curtis, Liane. ‘A Case of Identity’, Musical Times, 137/1839 (May 1996), 1521.CrossRefGoogle Scholar
Curtis, Liane, ed. The Rebecca Clarke Reader (Urbana and Chicago: Indiana University Press, 2004).Google Scholar
Curtis, Liane. ‘Rebecca Clarke and Sonata Form: Questions of Gender and Genre’, Musical Quarterly, 81/3 (1997), 393429.CrossRefGoogle Scholar
Cusick, Suzanne. ‘Feminist Theory, Music Theory, and the Mind/Body Problem’, Perspectives of New Music, 32/1 (Winter 1994), 827.CrossRefGoogle Scholar
Cusick, Suzanne. Francesca Caccini at the Medici Court: Music and the Circulation of Power (Chicago: University of Chicago Press, 2015).Google Scholar
Cusick, Suzanne. ‘Gender, Musicology, and Feminism’, in Rethinking Music, ed. Cook, Nicholas and Everist, Mark (Oxford: Oxford University Press, 1999), 471–98.Google Scholar
Cypess, Rebecca, and Sinkoff, Nancy, eds. Sara Levy’s World: Gender, Judaism, and the Bach Tradition in Enlightenment Berlin (Woodbridge: Boydell, 2018).CrossRefGoogle Scholar
Cyrus, Cynthia, and Carter Mather, Olivia. ‘Rereading Absence: Women in Medieval and Renaissance Music’, College Music Symposium, 38 (1998), 101–17.Google Scholar
Daub, Adrian. Four-Handed Monsters: Four-Hand Piano Playing and Nineteenth-Century Culture (New York: Oxford University Press, 2014).CrossRefGoogle Scholar
Davies, Joe. ‘Clara Schumann and the Nineteenth-Century Piano Concerto,’ in Davies, Joe, ed., Clara Schumann Studies (Cambridge: Cambridge University Press, 2022), 97118.Google Scholar
Davies, Joe. ‘Introduction: Clara Schumann in the Musicological Imagination’, in Davies, Joe, ed., Clara Schumann Studies (Cambridge: Cambridge University Press, 2022), 112.Google Scholar
Davis, Dick. Introduction to Edward FitzGerald, Rubáiyát of Omar Khayyám (London: Penguin, 1989).Google Scholar
Day-O’Connell, Sarah. ‘The Singing Style’, in Mirka, Danuta, ed., The Oxford Handbook of Topic Theory (Oxford: Oxford University Press, 2014), 238–58.Google Scholar
Derbyshire, Delia, and Grainer, Ron. Doctor Who: Original Theme Music and Credits. [Documentary broadcast]. London: BBC TV (1963), www.youtube.com/watch?v=75V4ClJZME4.Google Scholar
DeSimone, Allison. ‘Musical Virtue, Professional Fortune, and Private Trauma in Eighteenth-Century Britain: A Feminist Biography of Elisabetta de Gambarini (1730–1765)’, Journal of Musicological Research, 40/1 (2021), 538.CrossRefGoogle Scholar
Dijkstra, Bram. Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture (Oxford: Oxford University Press, 1986).Google Scholar
Dolce, Brianne. ‘“Soit hom u feme”: New Evidence for Women Musicians and the Search for the “Women Trouvères”’, Revue de musicologie, 106/2 (2020), 301–28.Google Scholar
DONNE: Women in Music. Equality and Diversity in Global Repertoire (September 2022), https://donne-uk.org.Google Scholar
Dorofeeva, Anna. ‘Miscellanies, Christian Reform and Early Medieval Encyclopaedism: A Reconsideration of the Pre-Bestiary Latin Physiologus Manuscripts’, Historical Research, 90/250 (2017), 665–82.CrossRefGoogle Scholar
Dottin, Georges. ‘Marguerite de Navarre. Chansons Spirituelles’, PhD diss. (Geneva: Droz, 1970).Google Scholar
Douglas, Mary. Purity and Danger: An Analysis of Concepts of Pollution and Taboo [1966] (Abingdon: Routledge Classics, 2002).Google Scholar
Dubois, Pierre. ‘Profession: Siren – The Ambiguous Status of Professional Women Musicians in Eighteenth-Century England’, in Baudino, Isabelle, Carré, Jacques, and Révauger, Cécile, eds., The Invisible Woman: Aspects of Women’s Work in Eighteenth-Century Britain (London: Taylor & Francis, 2005), 147–60.Google Scholar
Dunaway, Judy, ‘The Forgotten 1979 MoMA Sound Art Exhibition’, Resonance: The Journal of Sound and Culture, 1/1 (2020), 2546.CrossRefGoogle Scholar
Dunya, Abū. Tracts on Listening to Music: Being the Dhamm al-Malahi of Ibn Abi Dunya, transl. James Robson (London: The Royal Asiatic Society, 1937).Google Scholar
Eckhardt, Julia, and Radigue, Éliane. Éliane Radigue: Intermediary Spaces/Espaces Intermédiares (Brussels: Umland Editions, 2019).Google Scholar
Eimert, Herbert. ‘What Is Electronic Music?Die Reihe, 1 (1958), Electronic Music, 110.Google Scholar
Ellis, Katharine. ‘Female Pianists and Their Male Critics in Nineteenth-Century Paris’, Journal of the American Musicological Society, 50/2–3 (1997), 353–85.CrossRefGoogle Scholar
Elson, Arthur. Woman’s Work in Music (Boston: L. C. Page, 1903).Google Scholar
Ensemble Laus Concentus. I canti di Euterpe: Composizioni femminili (XVI–XVII secolo) (La bottega discantica, 1998).Google Scholar
Ensemble Villancico. Peter Pontvik (dir.), ¡Tambalagumbá! Early World Music in Latin America (CPO, 2014).Google Scholar
Eppley, Charles. ‘Circuit Scores: An Interview with Liz Phillips’ (8 April 2016), http://avant.org/artifact/liz-phillips.Google Scholar
Evans, Edwin. ‘Modern British Composers: Liza Lehmann’, Musical Standard, 20 (17 October 1903), 243.Google Scholar
Eximeno, Antonio. Dell’ origine e delle regole della musica … dedicate all’ Augusta Real Principessa Maria Antonia Walpurga (Rome: Michel’Angelo, 1774).Google Scholar
Faral, Edmund. ‘La queue de poisson des sirènes’, Romania, 74 (1953), 433506.CrossRefGoogle Scholar
Fassler, Margot E.Angels and Ideas: Hildegard’s Musical Hermeneutic as Found in Scivias and Reflected in “O splendidissima gemma”’, in Berndt, Rainer and Zátonyi, Maura, eds., Unversehrt und Unverletzt: Hildegards von Bingen Menschenbild und Kirchenverständnis Heute (Munster: Aschendorf, 2015), 189212.Google Scholar
Fassler, Margot E. Anthology for Music in the Medieval West (New York: W. W. Norton, 2014).Google Scholar
Fassler, Margot E. Cosmos, Liturgy and the Arts in the Twelfth Century: Hildegard’s Illuminated Scivias (Philadelphia: University of Pennsylvania Press, 2022).Google Scholar
Fassler, Margot E.Hildegard and Her Scribes’, in Bain, Jennifer, ed., The Cambridge Companion to Hildegard of Bingen (Cambridge: Cambridge University Press, 2021), 280–99.Google Scholar
Fassler, Margot E. Music in the Medieval West (New York: W. W. Norton, 2014).Google Scholar
Fassler, Margot E.Women and Their Sequences: An Overview and a Case Study’, Speculum, 94 (2019), 625–73.CrossRefGoogle Scholar
Fauser, Annegret. ‘“La Guerre en dentelles”: Women and the “Prix de Rome” in French Cultural Politics’, Journal of the American Musicological Society, 51/1 (1998), 83129.CrossRefGoogle Scholar
Fauser, Annegret. ‘“La princesse Maleine”: A Composer and Her Heroine as Literary Icons’, Journal of the Royal Musical Association, 122/1 (1997), 68108.CrossRefGoogle Scholar
Faustini, Agostino. Aggiunta alle historie del Sig. Guasparo Sardi nuovamente composta (Ferrara: G. Gironi, 1646).Google Scholar
Febvre, Lucien. ‘Albert Mathiez: Un Tempérament, Une Éducation’, Annales d’histoire Économique et Sociale, 18 (1932), 573–6.Google Scholar
Feldman, Ann E.Being Heard: Women Composers and Patrons at the 1893 World’s Columbian Exposition’, Notes, 47 (1990), 720.CrossRefGoogle Scholar
Feldman, Martha. ‘Authors and Anonyms: Recovering the Anonymous Subject in Cinquecento Vernacular Objects’, in Van Orden, Kate, ed., Music and the Cultures of Print (New York: Garland, 2000), 166–99.Google Scholar
Felski, Rita. Literature After Feminism (London: University of Chicago Press, 2003).CrossRefGoogle Scholar
Ferris, David. ‘Public Performance and Private Understanding: Clara Wieck’s Concerts in Berlin’, Journal of the American Musicological Society, 56/2 (2003), 351408.CrossRefGoogle Scholar
Fétis, François-Joseph. Biographie universelle des musiciens et bibliographie générale de la musique, 8 vols, 2nd ed. (Paris: Firmin Didot Frères, 1860–68).Google Scholar
Finck, Henry T. Songs and Song Writers (London: John Murray, 1901).Google Scholar
Finley, Sarah. Hearing Voices: Aurality and New Spanish Sound Culture in Sor Juana Inés de la Cruz (Lincoln, NE: University of Nebraska Press, 2019).CrossRefGoogle Scholar
Fischer, Christine. ‘“non suole Apollo sprezzar le Muse” – Annäherungen an Cesarina Ricci de Tingoli’, Schweizer Jahrbuch für Musikwissenschaft, 19 (1999), 151–95.Google Scholar
Fischer, Christine. Instrumentierte Visionen weiblicher Macht: Maria Antonia Walpurgis’ Werke als Bühne politischer Selbstinszierung (Cassel: Bärenreiter, 2007).Google Scholar
Fischer, Tobias. ‘Interview with Annea Lockwood’, www.tokafi.com.Google Scholar
Flynn, William T.Hildegard (1098–1179) and the Virgin Martyrs of Cologne’, in Cartwright, Jane, ed., The Cult of St. Ursula and the 11,000 Virgins (Cardiff: University of Wales Press, 2016), 93118.CrossRefGoogle Scholar
Fontijn, Claire Anne. ‘Antonia Bembo: Les Goûts réunis, Royal Patronage, and the Role of the Woman Composer during the Reign of Louis XIV’, PhD diss. (Duke University, 1994).Google Scholar
Fontijn, Claire Anne. Desperate Measures: The Life and Music of Antonia Padoani Bembo (New York: Oxford University Press, 2006).CrossRefGoogle Scholar
Forkert, Annika. ‘Luise Adolpha Le Beau’, Musik und Gender im Internet. https://mugi.hfmt-hamburg.de/receive/mugi_person_00000477.Google Scholar
Forkert, Annika. ‘Magical Serialism: Modernist Enchantment in Elisabeth Lutyens’s O Saisons, Ô châteaux!Twentieth-Century Music, 14/2 (2017), 271303.CrossRefGoogle Scholar
Forney, Kristine K.A Proper Musical Education for Antwerp’s Women’, in Weiss, Susan Forscher, Murray, Russell E. Jr., and Cyrus, Cynthia J., eds., Music Education in the Middle Ages and the Renaissance (Bloomington: Indiana University Press, 2010), 84125.Google Scholar
Franceschet, Susan, Krook, Mona Lena, and Tan, Netina, eds. The Palgrave Handbook of Women’s Political Rights (Basingstoke: Palgrave Macmillan, 2000).Google Scholar
Frank, Celia. ‘Phyllis Tate’, on the website Phyllis Tate. www.phyllis-tate.com.Google Scholar
Fuller, Sophie. ‘Elgar and the Salons: The Significance of a Private Musical World’, in Adams, Byron, ed., Edward Elgar and his World (Princeton: Princeton University Press, 2007), 223–47.Google Scholar
Fuller, Sophie. ‘“Putting the BBC and T. Beecham to Shame”: The Macnaghten–Lemare Concerts, 1931–7’, Journal of the Royal Musical Association, 138/2 (2013), 377414.CrossRefGoogle Scholar
Fuller, Sophie. ‘The Society of Women Musicians’, Discovering Music: Early 20th Century, British Library website. www.bl.uk/20th-century-music/articles/the-society-of-women-musicians.Google Scholar
Fuller, Sophie. ‘Women Composers during the British Musical Renaissance, 1880–1918’, PhD diss. (King’s College, University of London, 1998).Google Scholar
Fuller, Sophie. ‘Women Musicians and Professionalism in the Late-Nineteenth and Early-Twentieth Centuries’, in Golding, Rosemary, ed., The Music Profession in Britain, 18701920: New Perspectives on Status and Identity (London: Routledge, 2018), 149–69.Google Scholar
Fuller, Sophie, and Doctor, Jenny. Music, Life, and Changing Times: Selected Correspondence between British Composers Elizabeth Maconchy and Grace Williams, 192777 (London: Routledge, 2020).Google Scholar
Fuller-Maitland, J. A. A Door-Keeper of Music (London: John Murray, 1929).Google Scholar
Fullman, Ellen. ‘A Compositional Approach Derived from Material and Ephemeral Elements’, Leonardo Music Journal, 22 (December 2012), 310.CrossRefGoogle Scholar
Fullman, Ellen. Streetwalker [sounding street sculpture] (1980). https://vimeo.com/45207205.Google Scholar
Fürst, Marion. Maria Theresia Paradis: Mozarts berühmte Zeitgenossin (Cologne: Böhlau, 2005).Google Scholar
Gajdošíková, Jana, ‘European and Czech Salon Piano Music in the Second Half of the 19th Century’, Musicologica Olomucensia, 12 (2010), 95100.CrossRefGoogle Scholar
Gann, Kyle. American Music in the Twentieth Century (New York: Schirmer Books, 1997).Google Scholar
Gänzl, Kurt. The British Musical Theatre: 1865–1914 (London: Macmillan, 1986).Google Scholar
Gaume, Matilda. ‘Ruth Crawford Seeger’, in Bowers, Jane and Tick, Judith, eds., Women Making Music: The Western Art Tradition, 11501950 (Urbana: University of Illinois Press, 1987), 370–88.Google Scholar
Gayou, Évelyn, ed. Éliane Radigue: Portraits Polychromes (Paris: Institut national de l’audiovisuel, 2013).Google Scholar
Gayou, Évelyn. ‘The GRM: Landmarks on a Historic Route’, Organised Sound, 12/3 (2007), 203–11.CrossRefGoogle Scholar
Gayou, Évelyn. GRM: Le Groupe de Recherches Musicales: cinquante ans d’histoire, Les chemins de la musique (Paris: Fayard, 2007).Google Scholar
Geck, Karl Wilhelm. ‘Sophie Elisabeth, Duchess of Brunswick and Lüneberg (1613–1676)’, in Glickman, Sylvia and Schleifer, Martha Furman, eds., Women Composers: Music through the Ages, vol. 2, Composers Born 1600–1699 (New York: G. K. Hall, 1996–98), 21–5.Google Scholar
Geck, Karl Wilhelm. Sophie Elisabeth Herzogin zu Braunschweig und Lüneberg (1613–1676) (Saarbrücken: Saarbrücker Druckerei und Verlag, 1992).Google Scholar
Gerber, Ernst Ludwig. Historisch-Biographisches Lexikon der Tonkünstler, ed. Wessely, Othmar, 2 vols (1790–92; facs. repr., Graz: Akademische Druck- und Verlagsanstalt, 1966).Google Scholar
Gerber, Mirjam. Zwischen Salon und musikalischer Geselligkeit: Henriette Voigt, Livia Frege und Leipzigs bürgerliches Musikleben (Hildesheim: Olms, 2016).Google Scholar
Gilbert, Sandra M., and Gubar, Susan, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (New Haven, CT: Yale University Press, 1979).Google Scholar
Gillett, Paula. Musical Women in England, 1870–1914: ‘Encroaching on All Man’s Privileges’ (New York: Saint Martin’s Press, 2000).CrossRefGoogle Scholar
Gjerdingen, Robert O. Music in the Galant Style (New York: Oxford University Press, 2007).CrossRefGoogle Scholar
Glickman, Sylvia, and Schleifer, Martha Furman, eds. Women Composers: Music through the Ages, 12 vols (New York: G. K. Hall, 1996–98).Google Scholar
Glixon, Beth L.More on the Life and Death of Barbara Strozzi’, Musical Quarterly, 83/1 (Spring 1999), 134–41.CrossRefGoogle Scholar
Glixon, Beth L.New Light on the Life and Career of Barbara Strozzi’, Musical Quarterly, 81/2 (Summer 1997), 311–35.CrossRefGoogle Scholar
Gluck, Bob. ‘Nurturing Young Composers: Morton Subotnick’s Late-1960s Studio in New York City’, Computer Music Journal, 36/1 (2012), 6580.CrossRefGoogle Scholar
Goddard, Scott. ‘The Art of Roger Quilter’, The Chesterian, 6 (1925), 216.Google Scholar
Godt, Irving. Marianna Martines: A Woman Composer in the Vienna of Mozart and Haydn, ed. with contributions by John A. Rice (Rochester: University of Rochester Press, 2010).Google Scholar
Godt, Irving. ‘Style Periods of Music History Considered Analytically’, College Music Symposium, 24/1 (1984), 3348.Google Scholar
Goertzen, Valerie Woodring, ed. Clara Schumann: Preludes, Exercises, and Fugues for Piano (Bryn Mawr: Hildegard, 2001).Google Scholar
Goertzen, Valerie Woodring. ‘The Eighteenth Century’, in Glickman, Sylvia and Schleifer, Martha Furman, eds., From Convent to Concert Hall: A Guide to Women Composers (Westport, CT: Greenwood Press, 2003), 91152.Google Scholar
Goldberg, RoseLee. Laurie Anderson (London: Thames & Hudson, 2000).Google Scholar
Goldsmith, Elizabeth C., and Goodman, Dena eds. Going Public: Women and Publishing in Early Modern France (Ithaca, NY: Cornell University Press, 1995).Google Scholar
Gordon, Matthew and Hain, Kathryn A., eds. Concubines and Courtesans: Women and Slavery in Islamic History (New York: Oxford University Press, 2017).CrossRefGoogle Scholar
Gordon-Seifert, Catherine. Music and the Language of Love: Seventeenth-Century French Airs (Bloomington: Indiana University Press, 2011).Google Scholar
Gottzén, Lucas, Ulf Mellström, and Shefer, Tamara, eds. Routledge International Handbook of Masculinity Studies (Abingdon: Routledge, 2019).CrossRefGoogle Scholar
Graves, Charles L. Hubert Parry: His Life and Works (London: Macmillan, 1926).Google Scholar
Gray, Cecil. A Survey of Contemporary Music (London: Oxford University Press, 1927).Google Scholar
Gray, Louise. ‘Beethoven Was a Lesbian: Tracing an Alternative History of Music Mapped by Pauline Oliveros and Alison Knowles’, The Wire (December 2016). www.thewire.co.uk/in-writing/essays/pauline-oliveros-louise-gray#.Google Scholar
Green, Lucy. Music, Gender, Education (Cambridge: Cambridge University Press, 1997).CrossRefGoogle Scholar
Green, Rosalie, Evans, Michael, Bischoff, Christine, and Curschmann, Michael, eds. Herrad of Hohenbourg, Hortus Deliciarum, 2 vols (London: The Warburg Institute, 1979).Google Scholar
Greene, David B. Temporal Processes in Beethoven’s Music (New York: Gordon and Breach Science, 1982).Google Scholar
Greer, Germaine. ‘Flying Pigs and Double Standards’, Times Literary Supplement (26 July 1974), 784–5.Google Scholar
Greer, Germaine. The Obstacle Race: The Fortunes of Women Painters and Their Work (New York: Farrar Straus Giroux, 1979).Google Scholar
Grétry, Lucille. Le Mariage d’Antonio, ed. Adelson, Robert. Recent Researches in Music of the Classical Era (Middleton, WI: A–R Editions, 2008).CrossRefGoogle Scholar
Grew, Sydney. Our Favourite Musicians (London: T. N. Foulis, 1922).Google Scholar
Griffiths, Fiona. The Garden of Delights: Reform and Renaissance for Women in the Twelfth Century (Philadelphia: University of Pennsylvania Press, 2006).Google Scholar
Grönke, Kadja. ‘Contrasting Concepts of Love in Two Songs by Alma Schindler(-Mahler) and Gustav Mahler’, in Kenny, Aisling and Wollenberg, Susan, eds., Women and the Nineteenth-Century Lied (Farnham: Ashgate, 2015), 217–29.Google Scholar
Guasco, Annibal. Discourse to Lady Lavinia His Daughter, ed. and trans. Osborn, Peggy (Chicago: University of Chicago Press, 2007).Google Scholar
Guesde, Catherine and Nadrigny, Pauline. The Most Beautiful Ugly Sound in the World: À l’écoute de La Noise (Paris: Éditions MF, 2018).Google Scholar
Haas, Gerlinde. ‘Pauken und Trompeten … im Frauenkloster. “Komponistinnen”, Chorregentinnen und andere Musikerinnen des Ursulinen-Klosters in Graz in der Zeit 1686–1755/65’, in Jauk, Werner, ed., Miscellanea musicae: Rudolf Flotzinger zum 60. Geburtstag (Vienna: Musikwissenschaftlicher Verlag, 1999), 141–50.Google Scholar
Haemig, Mary Jane. ‘Elisabeth Cruciger (1500?–1535): The Case of the Disappearing Hymn Writer’, Sixteenth Century Journal, 31/1 (2001), 2144.CrossRefGoogle Scholar
Haggh-Huglo, Barbara. Two Offices for St. Elizabeth of Hungary: Gaudeat Hungaria and Letare Germania (Ottawa: Institute of Mediaeval Music, 1995).Google Scholar
Hallmark, Rufus. Frauenliebe und Leben: Chamisso’s Poems and Schumann’s Songs (Cambridge: Cambridge University Press, 2014).CrossRefGoogle Scholar
Hamer, Laura. Female Composers, Conductors, Performers: Musiciennes of Interwar France, 19191939 (Abingdon: Routledge, 2018).CrossRefGoogle Scholar
Hamer, Laura, ed. The Cambridge Companion to Women in Music since 1900 (Cambridge: Cambridge University Press, 2021).CrossRefGoogle Scholar
Hamilton, Kenneth. After the Golden Age: Romantic Pianism and Modern Performance (New York: Oxford University Press, 2008).Google Scholar
Harrán, Don. ‘Madonna Bellina, “Astounding” Jewish Musician in Mid-Sixteenth-Century Venice’, Renaissance Studies, 22/1 (2008), 1640.CrossRefGoogle Scholar
Harris, Amanda. ‘The Spectacle of Woman as Creator: Representation of Women Composers in the French, German and English Feminist Press 1880–1930’, Women’s History Review, 23 (2014), 1842.CrossRefGoogle Scholar
Harris, José. Private Lives, Public Spirit: Britain 18701914 (London: Penguin, 1994).Google Scholar
Hart, Victoria. ‘Equals in Love: Frauenliebe und Leben Reconsidered’, DMA diss. (University of California Santa Barbara, 2004).Google Scholar
Hassig, Debra. ‘Sex in the Bestiary’, in Strickland, Debra Higgs, ed., The Mark of the Beast: The Medieval Bestiary in Art, Life, and Literature (New York: Garland, 1999), 7197.Google Scholar
Hawley, John Stratton. Three Bhakti Voices: Mirabai, Surdas, and Kabir in Their Times and Ours (Delhi: Oxford University Press, 2005).Google Scholar
Hayes, Deborah. ‘Some Neglected Women Composers of the Eighteenth Century and Their Music’, Current Musicology, 49 (1985), 4265.Google Scholar
Head, Matthew. ‘Genre, Romanticism and Female Authorship: Fanny Hensel’s “Scottish” Sonata in G minor (1843)’, in Susan, Wollenberg, ed., ‘Fanny Hensel (née Mendelssohn Bartholdy) and Her Circle’: Proceedings of the Bicentenary Conference, Oxford, July 2005, special issue, Nineteenth-Century Music Review, 4/2 (December 2007), 6787.CrossRefGoogle Scholar
Head, Matthew. ‘Sensibility and Fantasia’, in Mirka, Danuta, ed., The Oxford Handbook of Topic Theory (Oxford: Oxford University Press, 2014), 259–78.Google Scholar
Head, Matthew. Sovereign Feminine: Music and Gender in Eighteenth-Century Germany (Berkeley: University of California Press, 2013).Google Scholar
Heel, Kiri. ‘Germaine Tailleferre Beyond Les Six: Gynocentrism and Le marchand d’oiseaux and the Six chansons françaises’, PhD diss. (Stanford University, 2011).Google Scholar
Heilmann, Ann. New Woman Fiction: Women Writing First Wave Feminism (Basingstoke: Palgrave Macmillan, 2000).CrossRefGoogle Scholar
Hellwig-Unruh, Renate. Fanny Hensel geb. Mendelssohn Bartholdy: Thematisches Verzeichnis der Kompositionen (Adliswil: Edition Kunzelmann, 2000).Google Scholar
Henson, Karen. ‘In the House of Disillusion: Augusta Holmès and “La Montagne noire”’, Cambridge Opera Journal, 9/3 (1997), 233–62.CrossRefGoogle Scholar
Herbert, Christopher Dylan. ‘Voices in the Pennsylvania Wilderness: An Examination of the Music Manuscripts, Music Theory, Compositions, and (Female) Composers of the Eighteenth-Century Ephrata Cloister’, DMA diss. (Juilliard School, 2018).Google Scholar
Heyden-Rynsch, Verena von der. Europäische Salons: Höhepunkte einer versunkenen weiblichen Kultur (Darmstadt: Wissenschaftliche Buchgesellschaft, 1992).Google Scholar
Higgins, Dick. Intermedia, Fluxus and the Something Else Press: Selected Writings by Dick Higgins, ed. Clay, Steve and Friedman, Ken (Catskill, NY: Silglio, 2018).Google Scholar
Higgins, Paula. ‘The Apotheosis of Josquin des Prez and Other Mythologies of Musical Genius’, Journal of the American Musicological Society, 57 (2004), 443510.CrossRefGoogle Scholar
Higgins, Paula. ‘Musical “Parents” and Their “Progeny”: The Discourse of Creative Patriarchy in Early Modern Europe’, in Owens, Jessie Ann and Cummings, Anthony Michael, eds., Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood (Detroit, MI: Harmonie Park Press, 1997), 169–85.Google Scholar
Higgins, Paula. ‘The “Other Minervas”: Creative Women at the Court of Margaret of Scotland’, in Marshall, Kimberly, ed., Rediscovering the Muses: Women’s Musical Traditions (Boston: Northeastern University Press, 1993), 169–85, 269–77.Google Scholar
Higgins, Paula. ‘Women in Music, Feminist Criticism, and Guerrilla Musicology’, 19th-Century Music, 17 (1993), 174–92.CrossRefGoogle Scholar
Hiley, David, ‘The Music of Prose Offices in Honour of English Saints’, Plainsong and Medieval Music, 10 (2001), 2337.CrossRefGoogle Scholar
Hillgardner, Holly. Longing and Letting Go: Christian and Hindu Practices of Passionate Non-Attachment (New York: Oxford University Press, 2017), https://doi.org/10.1093/acprof:oso/9780190455538.001.0001.CrossRefGoogle Scholar
Hinkle-Turner, Elizabeth. Women Composers and Music Technology in the United States: Crossing the Line (Farnham: Ashgate, 2006).Google Scholar
Hintermaier, Ernst. ‘Heinrich Ignaz Franz Biber von Bibern (1644–1704) und das Benediktinen-Frauenstift Nonnberg. Musikpflege und Musikkultur eines adeligen Frauenstiftes im hoch- und spätbarocken Salzburg‘, in Paarhammer, Hans, ed., Deus Caritas—Jakob Mayr: Festgabe—25 Jahre Weihbischof von Salzburg (Thaur: Verlagshaus Thaur, 1996), 209–18.Google Scholar
Hisama, Ellie M.Feminist Music Theory into the Millennium: A Personal History’, in Allen, Carolyn and Howard, Judith A., eds., Feminisms at a Millennium (Chicago: University of Chicago Press, 2001), 276–80. Reprinted from special millennial issue of Signs: Journal of Women in Culture and Society, 25/4 (Summer 2000).Google Scholar
Hisama, Ellie M.Power and Equity in the Academy: Change from Within’, Current Musicology, 102 (2018), 8192.Google Scholar
Hoff, James, and Revell, Irene, eds. Womens Work (Brooklyn, NY: Primary Information, 2019). Re-issue of Alison Knowles and Annea Lockwood, eds., Womens Work magazine (1975–78).Google Scholar
Hoffmann, Freia, ed. Louise Farrenc, (1804–1875). Kritische Ausgabe Orchester- und Kammermusik sowie ausgewählte Klavierwerke, 15 vols (Wilhelmshaven: F. Noetzel, 1998–2005).Google Scholar
Hold, Trevor. The Walled-In Garden: A Study of the Songs of Roger Quilter (18771953) (Rickmansworth: Triad Press, 1978).Google Scholar
Holford-Strevens, Leofranc. ‘Sirens in Antiquity and the Middle Ages’, in Austern, Linda and Naroditskaya, Inna, eds., Music of the Sirens (Bloomington: Indiana University Press, 2006), 1651.Google Scholar
Holmes, Thom. Electronic and Experimental Music: Technology, Music, and Culture, 5th ed. (New York: Routledge, 2006).Google Scholar
Hopkins, Nicholas, ed. Women at the Piano: Solo Works by Female Composers of the Nineteenth Century (New York: Carl Fischer, 2019).Google Scholar
Huang, Vivian L.Inscrutably, Actually: Hospitality, Parasitism, and the Silent Work of Yoko Ono and Laurel Nakadate’, Women & Performance: A Journal of Feminist Theory, 28/3 (2018), 187203.CrossRefGoogle Scholar
Hughes, Meirion, and Stradling, R. A.. The English Musical Renaissance, 1840–1940: Constructing a National Music (Manchester: Manchester University Press, 2001).Google Scholar
Hughes, Rupert. ‘Women Composers’, Century Magazine, 20 (1898), 768–9.Google Scholar
Hugo, Victor. ‘Fantômes’ [1828], in Les orientales (Brussels: Laurent frères, 1829).Google Scholar
Hutton, Jo. ‘Radiophonic Ladies’ (2002), http://delia-derbyshire.net.Google Scholar
Iitti, Sanna. The Feminine in German Song (New York: Peter Lang, 2006).Google Scholar
Jackson, Barbara Garvey, ed., Lieder by Women Composers of the Classic Era, vol. 1 (Fayetteville, Ark.: ClarNan, 1987).Google Scholar
Jackson, Barbara Garvey. ‘Musical Women of the Seventeenth and Eighteenth Centuries’, in Pendle, Karin, ed., Women and Music: A History, 2nd ed. (Bloomington and Indianapolis: Indiana University Press, 2001), 97146.Google Scholar
Jackson, Barbara Garvey. ‘Oratorios by Command of the Emperor: The Music of Camilla de Rossi’, Current Musicology, 42 (1986), 719.Google Scholar
Jackson, Barbara Garvey. ‘Say Can You Deny Me’: A Guide to Surviving Music by Women From the 16th through the 18th Centuries (Fayetteville, NC: University of Arkansas Press, 1994).Google Scholar
Jackson, Barbara Garvey. ‘The Seventeenth Century’, in Glickman, Sylvia and Schleifer, Martha Furman (eds.), From Convent to Concert Hall: A Guide to Women Composers (Westport, CT: Greenwood Press, 2003), vol. 2, 5590.Google Scholar
Jezic, Diane, and Daniel, Binder. ‘A Survey of College Music Textbooks: Benign Neglect of Women Composers?, in Zaimont, Judith Lang, ed., The Musical Woman: An International Perspective 2 (1984–5) (New York: Greenwood Press, 1987), 445–69.Google Scholar
Jezic, Diane Peacock. Women Composers: The Lost Tradition Found, first published 1988, 2nd ed. (posth.), with foreword and revisions prepared by Elizabeth Wood (New York: The Feminist Press at the City University of New York, 1994).Google Scholar
Joldersma, Hermina, and Grijp, Louis P.. ‘Elisabeth’s Manly Courage’: Testimonials and Songs of Martyred Anabaptist Women in the Low Countries, Myths and Civilization Series (Milwaukee, WI: Marquette University Press, 2001).Google Scholar
Jones, David Wyn, ed. Oxford Composer Companions: Haydn (Oxford: Oxford University Press, 2002).Google Scholar
Joubert, Estelle. ‘Maria Antonia of Saxony and the Emergence of Music Analysis in Opera Criticism’, Cambridge Opera Journal, 25/1 (2013), 3773.CrossRefGoogle Scholar
Jourdain, Dorothée. ‘The World Premiere of “Clara” by Gabriela Ortiz, Reviewed by New York Classical Review!’, Latitude, 45 Arts (March 22, 2022), www.latitude45arts.com/post/the-world-premiere-of-clara-by-gabriela-ortiz-reviewed-by-new-york-classical-review.Google Scholar
Joyner, Danielle B. Painting the Hortus deliciarum: Medieval Women, Wisdom, and Time (University Park: Pennsylvania State University Press, 2016).Google Scholar
Kallberg, Jeffrey. Chopin at the Boundaries: Sex, History, and Musical Genre (Cambridge, MA: Harvard University Press, 1996).Google Scholar
Kanneh-Mason, Isata. Romance: The Piano Music of Clara Schumann. Decca 2850020 (2019).Google Scholar
Kay, Sarah. ‘Siren Enchantments, or, Reading Sound in Medieval Books’, SubStance, 49/2 (2020), 108–32.CrossRefGoogle Scholar
Kemp, Mark. ‘She Who Laughs Last: Yoko Ono Reconsidered’, Option (July–August 1992), http://dailykemp.com/2019/11/14/yoko-ono-she-who-laughs-last.Google Scholar
Kendrick, Robert L. Celestial Sirens: Nuns and Their Music in Early Modern Milan (Oxford: Clarendon Press, 1996).CrossRefGoogle Scholar
Kendrick, Robert L.Chiara Margarita Cozzolani’, in Glickman, Sylvia and Schleifer, Martha Furman, eds., Women Composers: Music Through The Ages, vol. 1, Composers Born before 1600 (New York: G. K. Hall, 1996), 98.Google Scholar
Kendrick, Robert L.Intent and Intertextuality in Barbara Strozzi’s Sacred Music’, Recercare, 14 (2002), 6598.Google Scholar
Kendrick, Robert L.I mottetti di Claudia Rusca’, in Colzani, Alberto, Luppi, Andrea, and Padoan, Maurizio, eds., Barocco padano. III: Atti dell’XI Convegno internazionale sulla musica italiana nei secoli XVII–XVIII (Como: Antiquae Musicae Italicae Studiosi, 2004), 423–53.Google Scholar
Kendrick, Robert L. Review of Jane L. Baldauf-Berdes, Women Musicians of Venice: Musical Foundations 1525–1855 (Oxford: Clarendon Press, 1993), Music & Letters, 75/2 (1994), 257–8.Google Scholar
Kendrick, Robert. L.La Sofonisba by Maria Teresa Agnesi: Composition and Female Heroism between Milan and Vienna’, in Colzani, Alberto, ed., Il teatro musicale italiano nel Sacro romano impero nei secoli 17. e 18.: Loveno di Menaggio 1997 (Como: Antiquae Musicae Italicae Studiosi, 1999), 341–62.Google Scholar
Kenny, Aisling, and Wollenberg, Susan, eds. Women and the Nineteenth-Century Lied (Farnham: Ashgate, 2015).Google Scholar
Kerman, Joseph. Contemplating Music: Challenges to Musicology (Cambridge, MA: Harvard University Press, 1985).Google Scholar
Kertesz, Elizabeth. ‘Issues in the Critical Reception of Ethel Smyth’s Mass and First Four Operas in England and Germany’, PhD diss. (University of Melbourne, 2001).Google Scholar
Khomami, Nadia. ‘A-level Music to Include Female Composers after Student’s Campaign’, The Guardian, 16 December 2015. www.theguardian.com/education/2015/dec/16/a-level-music-female-composers-students-campaign-jessy-mccabe-edexcel.Google Scholar
Khomami, Nadia. ‘Student Demands Female Composers on A-level Music Syllabus’, The Guardian, 18 August 2015. www.theguardian.com/education/2015/aug/18/female-composers-a-level-music-syllabus-petition.Google Scholar
Kimber, Marian Wilson. ‘Google Does It Again: This Is Not Fanny Mendelssohn Hensel’, [blog post], 13 December 2020. https://marianwilsonkimber.wordpress.com/2020/12/13/google-does-it-again-this-is-not-fanny-mendelssohn-hensel/.Google Scholar
Klaus, Monica. Johanna Kinkel: Romantik und Revolution (Cologne: Böhlau, 2008).Google Scholar
Klein, Hans-Günter. … mit obligater Nachtigallen- und Fliederblütenbegleitung’: Fanny Hensels Sonntagsmusiken (Wiesbaden: Reichert, 2005).Google Scholar
Knaus, Kordula. ‘Italian Courts and Their Musicians in the Early Modern Period: Authority, Authorship and Gender’, in Knaus, Kordula and Kogler, Susanne, eds., Autorschaft – Genie – Geschlecht, Musik – Kultur – Gender. Studien zur europäischen Kultur, vol. 11 (Cologne: Böhlau, 2013), 6784.CrossRefGoogle Scholar
Knowles, Alison. ‘Event Scores’, www.aknowles.com/eventscore.html.Google Scholar
Knowles, Alison. By Alison Knowles (New York: Something Else Press, 1965).Google Scholar
Koch, Heinrich C. Kurzgefaβtes Handwörterbuch der Musik für praktische Tonkünstler und für Dilettanten [1807] (Hildesheim: Georg Olms, 1981).Google Scholar
Köhler, Astrid. ‘Zur Topografie urbaner Geselligkeit: Badeorte, Salons, Zeitschriften’, in Ananieva, Anna, ed., Zirkulation von Nachrichten und Waren: Stadtleben, Medien und Konsum im 19. Jahrhundert (Tübingen: Uni Tübingen, 2016), 2530.Google Scholar
Koldau, Linda Maria. Frauen-Musik-Kultur: ein Handbuch zum deutschen Sprachgebiet der Frühen Neuzeit (Cologne: Böhlau, 2005).Google Scholar
Kouvaras, Linda, Grenfell, Maria, and Williams, Natalie, eds. A Century of Composition by Women: Music against the Odds (Cham, Switzerland: Palgrave Macmillan, 2022).CrossRefGoogle Scholar
Krebs, Harald, and Krebs, Sharon. Josephine Lang: Her Life and Songs (New York: Oxford University Press, 2006).Google Scholar
Laccio, Gabriella di. ‘Equality & Diversity in Concert Halls Worldwide (Jul. 2021)’, DONNE: Women in Music. https://donne-uk.org.Google Scholar
Lamay, Thomasin. ‘Francesca Campana (ca. 1605/1610–1665)’, in Glickman, Sylvia and Schleifer, Martha Furman, eds., Women Composers: Music through the Ages, vol. 2, Composers Born 1600–1699 (New York: G. K. Hall, 1996–98), 215.Google Scholar
Paul, Landormy, and Martens, Frederick H.. ‘Lili Boulanger (1893–1918)’, Musical Quarterly, 16/4 (October 1930), 512–13.Google Scholar
Lane, Cathy. ‘Sound::Gender::Feminism::Activism: Research and Challenges to the Orthodoxies of Sound Arts’, Contemporary Music Review, 35/1 (2016), 32–9.CrossRefGoogle Scholar
Lang, Gladys Engel, and Lang, Kurt. Etched in Memory: The Building and Survival of Artistic Reputation (Chapel Hill: University of North Carolina Press, 1990).Google Scholar
Lang, Gladys Engel, and Lang, Kurt. ‘Recognition and Renown: The Survival of Artistic Reputation’, American Journal of Sociology, 94 (1988), 79109.CrossRefGoogle Scholar
Langton, Joanna Mary. ‘Beyond the Instrumental: Systems, Objects and Space in the Work of Beatriz Ferreyra, Teresa Rampazzi, Éliane Radigue and Delia Derbyshire’, PhD diss. (University of Surrey, 2021).Google Scholar
Lao, Meri. Sirens: Symbols of Seduction (Rochester, VT: Park Street Press, 1998).Google Scholar
Latham, Edward D.Gapped Lines and Ghostly Flowers in Amy Beach’s “Phantoms”, Op. 15, No. 2 (1892)’, in Parsons, Laurel and Ravenscroft, Brenda, eds., Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900 (New York: Oxford University Press, 2018), 228–42.Google Scholar
Launay, Florence. Les Compositrices en France au XIXe siècle (Paris: Fayard, 2006).Google Scholar
Launay, Florence, and Jann, Pasler. ‘Le Maître and the “Strange Woman”, Marie Jaëll: Two Virtuoso-Composers in Resonance’, in Pasler, Jann, ed., Camille Saint-Saëns and His World (Princeton, NJ: Princeton University Press, 2012), 85101.CrossRefGoogle Scholar
Lawes, Henry. Dedicatory Letter to the Second Book of Ayres, and Dialogues, for One, Two, and Three Voyces (London: Playford, 1655).Google Scholar
Le Guin, Elisabeth. Boccherini’s Body: An Essay in Carnal Musicology (Berkeley: University of California Press, 2006).CrossRefGoogle Scholar
Leach, Elizabeth E.“The Little Pipe Sings Sweetly While the Fowler Deceives the Bird”: Sirens in the Later Middle Ages,’ Music & Letters, 87 (2006), 187211.CrossRefGoogle Scholar
Leach, Elizabeth E.Music and Masculinity in the Middle Ages’, in Biddle, Ian and Gibson, Kirsten, eds., Masculinity and Western Musical Practices (Farnham: Ashgate, 2009), 2139.Google Scholar
Leclercq-Marx, Jacqueline. La Sirène dans la penseé et dans l’art de l’Antiquité et du Moyen Âge: Du mythe païen au symbole chrétien (Brussels: Académie Royale de Belgique, 1997).Google Scholar
Lee, Michael. ‘Annea Lockwood’s Burning Piano, Scruffed Stones, and Noble Snare: Feminist Politics and Sound Sources in Music’, in Women & Music: A Journal of Gender and Culture, 3 (1999), unpaged online edition.Google Scholar
LeFanu, Nicola, and Fuller, Sophie, Reclaiming the Muse: A Select Bibliography of English Language Writing on Women and Music (London: Published and printed by Nicola LeFanu and Sophie Fuller, 1991).Google Scholar
Lehmann, Liza. The Life of Liza Lehmann, By Herself (London: T. Fisher Unwin, 1919).Google Scholar
Leppert, Richard. ‘Sexual Identity, Death, and the Family Piano’, 19th-Century Music, 16/2 (1991), 105–28.Google Scholar
Lerma, Dominique-René de. ‘A Glimpse of Afro-Caribbean Music in the Early Seventeenth Century’, Black Music Research Journal, 10/ 1 (1990), 94–6.CrossRefGoogle Scholar
Lerner, Gerda. The Creation of Feminist Consciousness from the Middle Ages to Eighteen-seventy (New York: Oxford University Press, 1993).CrossRefGoogle Scholar
Letzter, Jacqueline, and Adelson, Robert. ‘French Women Opera Composers and the Aesthetics of Rousseau’, Feminist Studies, 26/1 (Spring 2000), 69100.CrossRefGoogle Scholar
Letzter, Jacqueline, and Adelson, Robert. Women Writing Opera: Creativity and Controversy in the Age of the French Revolution (Berkeley: University of California Press, 2001).CrossRefGoogle Scholar
Levin, Alicia Cannon. ‘Seducing Paris: Piano Virtuosos and Artistic Identity, 1820–1848’, PhD diss. (University of North Carolina at Chapel Hill, 2009).Google Scholar
Lewis, George E.The Virtual Discourses of Pamela Z’, Journal of the Society for American Music, 1/1 (2007), 57–77.CrossRefGoogle Scholar
Lindeman, Stephen. Structural Novelty and Tradition in the Early Romantic Piano Concerto (Stuyvesant, NY: Pendragon, 1999).Google Scholar
Link, Dorothea. ‘Vienna’s Private Theatrical and Musical Life, 1783–92, as Reported by Count Karl Zinzendorf’, Journal of the Royal Musical Association, 122/2 (1997), 205–57.CrossRefGoogle Scholar
Lockwood, Annea. ‘Hearing a Person – Remembering Ruth Anderson (1928–2019)’, New Music USA (19 December 2019), https://nmbx.newmusicusa.org/hearing-a-person-remembering-ruth-anderson-1928-2019/.Google Scholar
Loesser, Arthur. Men, Women and Pianos: A Social History (New York: Dover, 1954; reissued 1990).Google Scholar
Loewen, Peter V., and Waugh, Robin. ‘Mary Magdalene Preaches through Song: Feminine Expression in the Shrewsbury Officium Resurrectionis and in Easter Dramas from the German Lands and Bohemia’, Speculum, 82/3 (2007), 595641; English & Film Studies Faculty Publications, Paper 1 (2007) http://scholars.wlu.ca/engl_faculty/1.CrossRefGoogle Scholar
Loges, Natasha, and Tunbridge, Laura, eds. German Song Onstage: Lieder Performance in the Nineteenth and Early Twentieth Centuries (Bloomington: Indiana University Press, 2020).CrossRefGoogle Scholar
Lucca, Valeria De. The Politics of Princely Entertainment: Music and Spectacle in the Lives of Lorenzo Onofrio and Maria Mancini Colonna (New York: Oxford University Press, 2020).CrossRefGoogle Scholar
Lütteken, Laurenz. ‘The Work Concept’, in Berger, Anna Maria Busse and Rodin, Jesse, eds., transl. James Steichen, The Cambridge History of Fifteenth-Century Music (Cambridge: Cambridge University Press, 2015), 5568.CrossRefGoogle Scholar
Macarthur, Sally. Feminist Aesthetics in Music (London: Greenwood Press, 2002).Google Scholar
Macarthur, Sally. Towards a Twenty-First-Century Feminist Politics of Music (Farnham: Ashgate, 2010).Google Scholar
Macarthur, Sally, Bennett, Dawn, Goh, Talisha, Hennekam, Sophie, and Hope, Cat. ‘The Rise and Fall, and the Rise (Again) of Feminist Research in Music: “What Goes Around Comes Around”’, Musicology Australia, 39 (2017), 7395.CrossRefGoogle Scholar
Macdonald, Claudia. ‘Critical Perception and the Woman Composer: The Early Reception of Piano Concertos by Clara Wieck Schumann and Amy Beach’, Current Musicology, 55 (1993), 2455.Google Scholar
Maconchy, Elizabeth. The Land, Concertino for piano and orchestra, Music for Wind and Brass, Symphony for Double String Orchestra, BBC Scottish Symphony Orchestra cond. Odaline de la Martinez, Lorelt: LNT133 (2011).Google Scholar
Mangeshkar, Lata. Meera Soor Kabira [Album for digital streaming] (Saregama, 2001).Google Scholar
Mangeshkar, Lata, and Mangeshkar, Hridaynath. Lata Mangeshkar Sings Meera Bhajans [LP] (HMV: ECSD 2371, 1968).Google Scholar
Marcello, Rosanna Scalfi. Twelve Cantatas for Alto Voice and Basso Continuo, ca. 1730, ed. Hayes, Deborah and Paton, John G. (Fayetteville, AR: Clarnan, 2012).Google Scholar
Markuszewska, Aneta. ‘The Lamento Udite lagrimosi spirti d’Averno by Lucia Quinciani in Marc’Antonio Negri’s Affetti amorosi (Venice, 1611)’, in Jeż, Tomasz, Przybyszewska-Jarmińska, Barbara, and Toffetti, Marina, eds., Italian Music in Central-Eastern Europe: Around Mikołaj Zieleński’s Offertoria and Communiones (1611) (Venice: Fondazione Ugo e Olga Levi, 2015), 171–81.Google Scholar
Marshall, Louise. ‘Deep Listening: The Strategic Compositional Practice of Female Experimental Composers Post 1945’, PhD diss. (University of the Arts London, 2018).Google Scholar
Martin, Dennis D.Carthusians as Advocates of Women Visionary Reformers’, in Luxford, Julian M., ed., Studies in Carthusian Monasticism in the Late Middle Ages (Turnhout: Brepols, 2008), 127–53.Google Scholar
Martin, Jonathan Seelye. ‘Rape, the Pastourelle, and the Female Voice in CB 185’, in Franklinos, Tristan E. and Hope, Henry, eds., Revisiting the Codex Buranus: Contents, Contexts, Compositions (Woodbridge: Boydell Press, 2020), 149–70.Google Scholar
Martin, Nancy M.Mirabai Comes to America: The Translation and Transformation of a Saint’, The Journal of Hindu Studies, 3/1 (April 1, 2010), 1235, https://doi.org/10.1093/jhs/hiq009.CrossRefGoogle Scholar
Martin, Nancy M.Mirabai’s Poetry: The Worlding of a Hindu Woman Saint’s Dynamic Song Tradition’, in A Companion to World Literature (Wiley Online Library, 2019), 112, https://doi.org/10.1002/9781118635193.ctwl0070.Google Scholar
Martin, Nancy M.Rajasthan: Mirabai and Her Poetry’, in Bryant, Edwin F., ed., Krishna: A Sourcebook (New York: Oxford University Press, 2007), 241–54.Google Scholar
Martines, Marianna von. Dixit Dominus, ed. Godt, Irving (Madison, WI: A–R Editions, 1997).CrossRefGoogle Scholar
Massip, Catherine. L’Art de bien chanter: Michel Lambert (1610–1696) (Paris: Société française de musicologie, 1999).Google Scholar
Mattei, Beatrice. Sonata per viola e cembalo (Louisville, KY: Ars Femina, 1993).Google Scholar
Matthias, Rhiannon. Lutyens, Maconchy, Williams and Twentieth-Century British Music: A Blest Trio of Sirens (Aldershot: Ashgate, 2012).Google Scholar
Maugars, André. Response faite à un curieux, sur le sentiment de la musique d’Italie. Escrite à Rome le premier octobre 1639 (Paris, [1639 or 1640?]).Google Scholar
Maul, Michael. Bach’s Famous Choir: The Thomas School in Leipzig, 1212–1804 (Rochester, NY: Boydell & Brewer, 2018).Google Scholar
Mavroudi, Maria. ‘Learned Women of Byzantium and the Surviving Record’, in Fisher, Elizabeth A., Papaioannou, Stratis, and Sullivan, Dennis, eds., Byzantine Religious Culture: Studies in Honor of Alice-Mary Talbot, The Medieval Mediterranean 92 (Leiden: Brill, 2012), 5384.CrossRefGoogle Scholar
McAvoy, Liz Herbert. ‘“O Der Lady, Be My Help”: Women’s Visionary Writing and the Devotional Literary Canon’, The Chaucer Review, 51/1 (2016), 68–87.CrossRefGoogle Scholar
McCabe, Mary Ann. Mabel Daniels: An American Composer in Transition (New York: Routledge, 2017).CrossRefGoogle Scholar
McCartney, Andra. ‘Gender, Genre and Electroacoustic Soundmaking Practices’, Intersections, 26/2 (2006), 2048.CrossRefGoogle Scholar
McCartney, Andra. ‘Soundwalking: Creating Moving Environmental Narratives’, in Gopinath, Sumanth and Stanyek, Jason, eds., The Oxford Handbook of Mobile Music Studies, vol. 2 (Oxford: Oxford University Press, 2014), 212–37, https://doi.org/10.1093/oxfordhb/9780199913657.013.008.Google Scholar
McClary, Susan. Feminine Endings: Music, Gender, and Sexuality (Minneapolis, MN: University of Minnesota Press, 1991).Google Scholar
McClary, Susan. ‘Foreword: Ode to Cecilia’, in Cook, Susan C. and Tsou, Judy, eds., Cecilia Reclaimed: Feminist Perspectives on Gender and Music (Urbana: University of Illinois Press, 1994), ixxii.Google Scholar
McClary, Susan. ‘Women and Music on the Verge of the New Millennium’, Signs, 25/4 (2000), 1283–6.CrossRefGoogle Scholar
McKitterick, Rosamund. ‘Nuns’ Scriptoria in England and Francia in the Eighth Century’, Francia, 19 (1992), 135.Google Scholar
McN., Dame Ethel Smyth, April 23, 1858-May 9, 1944’, Musical Times, 85/1217 (July 1944), 207–12.Google Scholar
Meine, Sabine, and Rost, Henrike, eds. Klingende Innenräume: ‘Gender’ Perspektiven auf eine ästhetische und soziale Praxis im Privaten (Würzburg: Königshausen and Neumann, 2020).Google Scholar
Meine, Sabine, and Schwartz, Manuela. ‘Einleitung’, Die Tonkunst: Magazin für klassische Musik und Musikwissenschaft, Thema: Der Musiksalon 1 (2010), 314.Google Scholar
Meizel, Katherine, and Martin Daughtry, J.. ‘Decentering Music: Sound Studies and Voice Studies in Ethnomusicology’, in Berger, Harris M. and Stone, Ruth M., eds., Theory for Ethnomusicology: Histories, Conversations, Insights (New York: Routledge, 2019), 176203.CrossRefGoogle Scholar
Melton, Barbara Lawatsch. ‘Loss and Gain in a Salzburg Convent: Tridentine Reform, Princely Absolutism, and the Nuns of Nonnberg (1620 to 1696)’, in Tatlock, Lynne, ed., Enduring Loss in Early Modern Germany: Cross-Disciplinary Perspectives (Leiden: Brill, 2010), 259–80.Google Scholar
Merlin, Monica. ‘The Late Ming Courtesan Ma Shouzhen (1548–1604): Visual Culture, Gender and Self-Fashioning in the Nanjing Pleasure Quarter’, PhD diss. (University of Cambridge, 2013).CrossRefGoogle Scholar
Michaelis, Alfred. Frauen als schaffende Tonkünstler (Leipzig: A. Michaelis, 1888).Google Scholar
Miller, Caitlin. ‘“Und das hat mit ihrem Singen, Die Lore-Ley gethan”: Subjectivity and Objectification in Two Heine Settings’, in Kenny, Aisling and Wollenberg, Susan, eds., Women and the Nineteenth-Century Lied (Farnham: Ashgate, 2015), 233–50.Google Scholar
Millington, Hannah. ‘“1910”: Ethel Smyth’s Unsung Suffrage Song’, Musicology Review, 10 (2021), 55–7.Google Scholar
Millington, Hannah. ‘“I unearthed in my loft a cantata”: Contextualising Ethel Smyth’s Song of Love Op. 8’, paper given at the ‘Third International Conference on Women’s Work in Music’, September 2021.Google Scholar
Mitchell, Donald. ‘Too Decorous Women Composers. Gauche Works’, The Daily Telegraph, 29 April 1960, p. 14.Google Scholar
Mitgang, Laura. ‘Germaine Tailleferre: Before, During, and After Les Six’, in Zaimont, Judith Lang, ed., The Musical Woman, 2 (1984–5) (New York: Greenwood Press, 1987), 177221.Google Scholar
Molleson, Kate. Sound within Sound: Opening Our Ears to the 20th Century (London: Faber & Faber, 2022).Google Scholar
Monteverdi, Claudio. The Letters of Claudio Monteverdi, ed. and transl. Stevens, Denis (Cambridge: Cambridge University Press, 1980).Google Scholar
Morgan, Elizabeth. ‘The Accompanied Sonata and the Domestic Novel in Britain at the Turn of the Nineteenth Century’, 19th-Century Music, 36/2 (2012), 88110.Google Scholar
Morgan, Frances. ‘Pioneer Spirits: New Media Representations of Women in Electronic Music History’, Organised Sound, 22/2 (2017), 238–49.CrossRefGoogle Scholar
Moroney, Davitt. ‘Les muses en juppe: The Airs of Anne Madeleine Guedon de Presles’, in Reynaud, Cécile and Schneider, Herbert, eds., Noter, annoter, éditer la musique: mélanges offerts à Catherine Massip (Geneva: Librairie Droz, 2012), 213–39.Google Scholar
Morsch, Anna. Deutschlands Tonkünstlerinnen. Biographische Skizzen aus der Gegenwart (Berlin: Stern & Ollendorff, 1893).Google Scholar
Munro, Gordon. ‘“Sang Schwylls” and “Music Schools”: Music Education in Scotland, 1560–1650’, in Murray, Russell E., Susan Forscher Weiss, Jr., and Cynthia J. Cyrus, eds., Music Education in the Middle Ages and the Renaissance (Bloomington: Indiana University Press, 2010), 6583.Google Scholar
Musica Secreta, Lucrezia Borgia’s Daughter (Obsidian, 2017).Google Scholar
Musica Secreta, Mother, Sister, Daughter (Lucky Music, 2022).Google Scholar
Muxfeldt, Kristina. ‘Frauenliebe und Leben Now and Then’, 19th-Century Music, 25/1 (2001), 2748.CrossRefGoogle Scholar
Neave Trio. Her Voice: Beach, Clarke, Farrenc, Chandos 20139 (2019).Google Scholar
Neuls-Bates, Carol, ed. Women in Music: An Anthology of Source Readings from the Middle Ages to the Present, rev. ed. (Boston, MA: Northeastern University Press, 1996).Google Scholar
Newcomb, Anthony. ‘Courtesans, Muses, or Musicians? Professional Women Musicians in Sixteenth-Century Italy’, in Bowers, Jane and Tick, Judith, eds., Women Making Music: The Western Art Tradition, 1150–1950 (Urbana: University of Illinois Press, 1986), 90115.CrossRefGoogle Scholar
Newman, Barbara J., ed. Frauenlob’s Song of Songs: A Medieval German Poet and His Masterpiece (University Park: Pennsylvania State University Press, 2006).Google Scholar
Nickel, Luke. ‘Occam Notions: Collaboration and the Performer’s Perspective in Éliane Radigue’s Occam Ocean’, Tempo, 70/275 (2015), 2235.CrossRefGoogle Scholar
Niebur, Louis. Special Sound: The Creation and Legacy of the BBC Radiophonic Workshop (New York: Oxford University Press, 2010).CrossRefGoogle Scholar
Nielson, Lisa. ‘Gender and the Politics of Music in the Early Islamic Courts’, Early Music History, 31 (2012), 235–61.CrossRefGoogle Scholar
Nielson, Lisa. ‘Visibility and Performance: Courtesans in the Early Islamicate Courts (661–950 CE)’, in Gordon, Matthew and Hain, Kathryn A., eds., Concubines and Courtesans: Women and Slavery in Islamic History (New York: Oxford University Press, 2017), 77–99.Google Scholar
Nochlin, Linda. Women Artists: The Linda Nochlin Reader, ed. Reilly, Maura (London: Thames & Hudson, 2015).Google Scholar
Northcote, Sydney. Byrd to Britten: A Survey of English Song (London: John Baker, 1966).Google Scholar
Norton, Michael, and Carr, Amelia. ‘Liturgical Manuscripts, Liturgical Practice, and the Women of Klosterneuburg’, Traditio, 66 (2011), 67170.CrossRefGoogle Scholar
Noske, Frits. Saints and Sinners: The Latin Musical Dialogue in the Seventeenth Century (Oxford: Clarendon Press, 1993).Google Scholar
Novero, Cecilia. Antidiets of the Avant-garde: From Futurist Cooking to Eat Art (Minneapolis, MN: University of Minnesota Press, 2010).Google Scholar
Nyman, Michael. Experimental Music: Cage and Beyond, 2nd ed. (Cambridge: Cambridge University Press, 1999).Google Scholar
Obrist, Hans Ulrich. ‘Mix a Building and Wind: An Interview of Yoko Ono by Hans Ulrich Obrist’ (2002), http://projects.e-flux.com/do_it/notes/interview/i002.html.Google Scholar
Oen, Maria H. and Falkeid, Unn, eds., Sanctity and Female Authorship: Birgitta of Sweden and Catherine of Siena (Abingdon: Routledge, 2020).Google Scholar
Oliver, Judith. Singing with Angels: Liturgy, Music, and Art in the Gradual of Gisela von Kerssenbrock (Turnhout: Brepols, 2007).Google Scholar
Oliveros, Pauline. ‘And Don’t Call them “Lady” Composers’, New York Times (13 September 1970), D23.Google Scholar
Oliveros, Pauline. ‘Improvising with Spaces’, Journal of the Acoustical Society of America, 119 (July 2007), 6872.Google Scholar
Oliveros, Pauline. ‘Quantum Listening: From Practice to Theory (to Practise Practice)’, in Chan, Sin-wai and Kwok, Siu Tong, eds., Culture and Humanity in the New Millennium: The Future of Human Values (Hong Kong: Chinese University Press, 2002), 2744.Google Scholar
Oliveros, Pauline. Reverberations: Tape and Electronic Music, 1961–1970 [12 CDs], re-issue box set (Important Records, IMPREC352, 2012).Google Scholar
Oliveros, Pauline. Software for People: Collected Writings 196380, 2nd ed. (Kingston, NY: Pauline Oliveros Publications, 2015).Google Scholar
Olson, Judith E.Luise Adolpha Le Beau: Composer in Late Nineteenth-Century Germany’, in Bowers, Jane and Tick, Judith, eds., Women Making Music: The Western Art Tradition, 11501950 (Urbana: University of Illinois Press, 1987), 282303.Google Scholar
Ono, Yoko, Grapefruit: A Book of Instruction and Drawings (New York: Simon and Schuster, 2000).Google Scholar
Ono, Yoko. ‘Yoko Ono, Cut Piece, 1964’, www.moma.org/multimedia/audio/406/7254.Google Scholar
O’Sullivan, Daniel E.The Man Backing Down from the Lady in Trobairitz tensos’, in Doggett, Laine E. and O’Sullivan, Daniel E., eds., Founding Feminisms in Medieval Studies: Essays in Honour of E. Jane Burns (Cambridge: D.S. Brewer, 2016), 4560.CrossRefGoogle Scholar
Ouzounian, Gascia. ‘Embodied Sound: Aural Architectures and the Body’, Contemporary Music Review, 25/1–2 (2006), 6979.CrossRefGoogle Scholar
Page, Janet K. Convent Music and Politics in Eighteenth-Century Vienna (Cambridge: Cambridge University Press, 2014).CrossRefGoogle Scholar
Pakis, Valentine A.Sirens and their Victims in Version B of the Latin Physiologus’, Mittellateinisches Jahrbuch, 44 (2009), 367–76.Google Scholar
Parker, Roszika, and Pollock, Griselda. Old Mistresses: Women, Art, and Ideology (New York: Pantheon Books, 1981).Google Scholar
Parsoneault, Catherine. ‘The Montpellier Codex: Royal Influence and Musical Taste in Thirteenth-Century Paris’, PhD diss. (University of Texas at Austin, 2001).Google Scholar
Parsons, Laurel, and Ravenscroft, Brenda, eds. Analytical Essays on Music by Women Composers: Sacred & Secular Music to 1900 (New York: Oxford University Press, 2018).CrossRefGoogle Scholar
Pasler, Jann. ‘The Ironies of Gender, or Virility and Politics in the Music of Augusta Holmès’, in Essays on Music, Culture, and Politics (New York: Oxford University Press, 2008), 213–48.Google Scholar
Patmore, Coventry. ‘The Social Position of Women’, North British Review, 14 (1851), https://archive.org/details/sim_north-british-review_1851-02_14_28.Google Scholar
Patten, Pamela. ‘An Ethiopian-Headed Serpent in the Cantigas de Santa María: Sin, Sex, and Color in Late Medieval Castile’, Gesta, 55 (2016), 213–38.Google Scholar
Pearsall, Ronald. Edwardian Popular Music (Newton Abbott: David and Charles, 1975).Google Scholar
Pecknold, Sara. ‘“On Lightest Leaves Do I Fly”: Redemption and the Renewal of Identity in Barbara Strozzi’s Sacri musicali affetti (1655)’, PhD diss. (Catholic University of America, 2015).Google Scholar
Peirce, [Melusina] Fay, ed. Music Study in Germany: From the Home Correspondence of Amy Fay (Chicago: James, McClurg and Company, 1880).Google Scholar
Pendle, Karin, ed., ‘American Women Composers’, special issue, Contemporary Music Review, 16/1–2 (1997).Google Scholar
Pendle, Karin. ‘Musical Women in Early Modern Europe’, in Women in Music: A History, ed. Pendle, Karin, 2nd ed. (Bloomington: Indiana University Press, 2010), 5796.Google Scholar
Pescerelli, Beatrice. I madrigali di Maddalena Casulana (Florence: Olschki, 1979).Google Scholar
Pigg, Daniel F.Masculinity Studies’, in Pigg, Daniel F. and Classen, Albrecht, eds., Handbook of Medieval Studies (New York: De Gruyter, 2011), 829–35.Google Scholar
Pinch, Trevor, and Trocco, Frank. Analog Days: The Invention and Impact of the Moog Synthesizer (Cambridge, MA: Harvard University Press, 2002).Google Scholar
Pisan, Christine de. LEpistre au Dieu d’Amours (May 1399), https://gallica.bnf.fr/ark:/12148/bpt6k9614325n/f39.image.Google Scholar
Plantinga, Leon. Clementi: His Life and Music (London: Oxford University Press, 1977).Google Scholar
Plantinga, Leon. ‘The Piano and the Nineteenth Century’, in Todd, R. Larry, ed., Nineteenth-Century Piano Music, 2nd ed. (New York: Routledge, 2004), 115.Google Scholar
Plumley, Yolanda. ‘Citational Practice in the Later Middle Ages’, in Everest, Mark and Kelly, Thomas Forrest, eds., The Cambridge History of Medieval Music, vol. 2 (Cambridge: Cambridge University Press, 2018), 1147–76.Google Scholar
Pollock, Griselda. Vision and Difference: Femininity, Feminism and the Histories of Art (London: Routledge, 1988; classic ed. with new preface, London: Routledge, 2003).Google Scholar
Pollock, Griselda. ‘Whither Art History?’, Art Bulletin, 96 (2012), 923.CrossRefGoogle Scholar
Pomel, Fabienne. ‘Les sirènes de l’allégorie: plaisirs et périls des yeux et des oreilles’, in Pierdominici, Luca and Gaucher-Rémond, Élisabeth, eds., Ravy me treuve en mon déduire (Fano: Aras, 2011), 247–69.Google Scholar
Potter, Caroline. Nadia and Lili Boulanger (Aldershot: Ashgate, 2006).Google Scholar
Rabinowitz, Paula. ‘The Sound of Reformed Space: Liz Phillips’s Responsive Installations’, PAJ: A Journal of Performance and Art, 24/3 (2002), 3543.Google Scholar
Radigue, Éliane. Éliane Radigue: Oeuvres Électroniques. [14 CDs.] Paris: Ina-GRM, 2018.Google Scholar
Rankin, Alisha Michelle. Panaceia’s Daughters: Noblewomen as Healers in Early Modern Germany (Chicago: University of Chicago Press, 2013).CrossRefGoogle Scholar
Rankin, Susan. ‘A New English Source of the Visitatio Sepulchri’, Journal of the Plainsong and Mediaeval Music Society, 4 (1981), 110.CrossRefGoogle Scholar
Rathey, Markus. ‘Schools’, in Leaver, R. A., The Routledge Research Companion to Johann Sebastian Bach (New York: Routledge, 2017), 116–41.Google Scholar
Ratner, Leonard. Classic Music: Expression, Form, and Style (London: Schirmer Books, 1980).Google Scholar
Raykoff, Ivan. Dreams of Love: Playing the Romantic Pianist (New York: Oxford University Press, 2014).Google Scholar
Read, Donald. England 18681914: The Age of Urban Democracy (London: Longman, 1979).Google Scholar
Reich, Nancy B.Women as Musicians: A Question of Class’, in Solie, Ruth A., ed., Musicology and Difference: Gender and Sexuality in Music Scholarship (Berkeley: University of California Press, 1993), 125–46.Google Scholar
Reich, Nancy B. Clara Schumann: The Artist and the Woman (Ithaca, NY: Cornell University Press, 1985 [rev. ed., 2001]).Google Scholar
Revell, Irene. ‘Irene Revell’, techne.ac.uk.Google Scholar
Rice, John. Anthology for Music in the Eighteenth Century (New York: W. W. Norton, 2013).Google Scholar
Rice, John. Music in the Eighteenth Century (New York: W. W. Norton, 2013).Google Scholar
Richardson, Samuel. Clarissa: Or, the History of a Young Lady (Dublin: G. Faulkner, 1748).Google Scholar
Ridyard, Susan, ed. The Royal Saints of Anglo-Saxon England (Cambridge: Cambridge University Press, 1998), 255308.Google Scholar
Riley, Matthew, ed. British Music and Modernism, 1895–1960 (Farnham: Ashgate, 2010).Google Scholar
Ritchie, Leslie. Women Writing Music in Late Eighteenth-Century England: Social Harmony in Literature and Performance (Aldershot: Ashgate, 2008).Google Scholar
Robertson, Anne Walters. Guillaume de Machaut at Reims: Context and Meaning in his Musical Works (Cambridge: Cambridge University Press, 2002).Google Scholar
Robinson, Dylan. ‘To All Who Should Be Concerned’, Intersections, 39/1 (2019), 137–44, https://doi.org/10.7202/1075347ar.Google Scholar
Robinson, Jane. Ladies Can’t Climb Ladders: The Pioneering Adventures of the First Professional Women (London: Doubleday, 2020).Google Scholar
Robinson, Sarah Emily. ‘“In her right hand she bore a trumpet, in her left hand an olive branch … ”: Performance Space and the Early Modern Female Wind Player’, PhD diss. (Newcastle University, 2017).Google Scholar
Rockwell, John. ‘Avant-Garde: Liz Phillips Sound’, New York Times (14 May 1981), C16.Google Scholar
Rodgers, Stephen, ed. The Songs of Fanny Hensel (New York: Oxford University Press, 2021).CrossRefGoogle Scholar
Roe, Adah Blanche. ‘Anna Owena Hoyers: A Poet of the Seventeenth Century’, PhD diss. (Bryn Mawr College, 1915).Google Scholar
Roesner, Edward H. ‘“Subtilitas” and “Delectatio”: “Ne m’a pas oublié”’, in Doss-Quinby, Eglal, Krueger, Roberta L., and Burns, E. Jane, eds., Cultural Performances in Medieval France: Essays in Honor of Nancy Freeman Regalado (Cambridge: D. S. Brewer, 2007), 2543.CrossRefGoogle Scholar
Rogers, Tara. Pink Noises: Women on Electronic Music and Sound (Durham, NC: Duke University Press, 2010).Google Scholar
Rokseth, Yvonne. ‘Antonia Bembo, Composer to Louis XIV’, Musical Quarterly, 23 (1937), 147–69.Google Scholar
Rokseth, Yvonne. ‘Les Femmes musiciennes du XIIe au XIVe siècle’, Romania, 61 (1935), 464–80.CrossRefGoogle Scholar
Ronyak, Jennifer. Intimacy, Performance, and the Lied in the Early Nineteenth Century (Bloomington: Indiana University Press, 2018).CrossRefGoogle Scholar
Rosand, David, and Rosand, Ellen. ‘“Barbara di Santa Sofia” and “Il Prete Genovese”: On the Identity of a Portrait by Bernardo Strozzi’, The Art Bulletin, 43/2 (June 1981), 249–58.Google Scholar
Rosand, Ellen. ‘Barbara Strozzi, “Virtuosissima Cantatrice”: The Composer’s Voice’, Journal of the American Musicological Society, 31/2 (Summer 1978), 241–81.CrossRefGoogle Scholar
Rosand, Ellen. ‘“Senza necessità del canto dell’autore”: Printed Singing Lessons in Seventeenth-Century Italy’, in Atti del XIV congresso della Società Internazionale di Musicologia, Bologna (Turin: Edizioni di Torino, 1990), vol. 2, 214–24.Google Scholar
Rosand, Ellen. ‘Vivaldi’s Stage’, Journal of Musicology, 18/1 (2001), 830.CrossRefGoogle Scholar
Rosand, Ellen. ‘The Voice of Barbara Strozzi’, in Bowers, Jane and Tick, Judith, eds., Women Making Music: The Western Art Tradition, 11501950 (Urbana: University of Illinois Press, 1986), 16890.CrossRefGoogle Scholar
Rose, Stephen. Musical Authorship from Schütz to Bach (Cambridge: Cambridge University Press, 2019).CrossRefGoogle Scholar
Rosenfelt, Deborah Silverton. ‘New Overview of Women’s Studies Courses’, Women’s Studies Newsletter, 2/1 (1974), 112.Google Scholar
Ross, Sarah Gwyneth. The Birth of Feminism: Woman as Intellect in Renaissance Italy and England (Cambridge, MA: Harvard University Press, 2009).Google Scholar
Rothenberg, David J.The Marian Symbolism of Spring, ca. 1200–ca. 1500: Two Case Studies’, Journal of the American Musicological Society, 59 (2006), 319–98.CrossRefGoogle Scholar
Rothenberg, Sarah. ‘Thus Far, But No Farther: Fanny Mendelssohn-Hensel’s Unfinished Journey’, Musical Quarterly, 77/4 (1993), 689708.CrossRefGoogle Scholar
Rothstein, Edward. ‘Yes Fanny Is Neglected. But Unjustly?’ The New York Times (29 September 1991), Section 2, 29.CrossRefGoogle Scholar
Rovner, Lisa, dir. Sisters with Transistors: Electronic Music’s Unsung Heroines [documentary film] (Anna Lena Films and Willow Glen Films, 2020).Google Scholar
Rustomji, Nerina. ‘Are Houris Heavenly Concubines?’, in Gordon, Matthew and Hain, Kathryn A., eds., Concubines and Courtesans: Women and Slavery in Islamic History (New York: Oxford University Press, 2017), 266–77.Google Scholar
Sachs, Curt. ‘Prinzessin Amalie von Preussen als Musikerin’, Hohenzollern-Jahrbuch, 14 (1910), 181–91.Google Scholar
Sadie, Julie Anne, and Samuel, Rhian, eds. The New Grove Dictionary of Women Composers (London: Macmillan, 1994).Google Scholar
St John, Christopher. Ethel Smyth: A Biography (London: Longmans, Green & Co., 1959).Google Scholar
Sanders, Valerie. ‘First Wave Feminism’, in Gamble, Sarah, ed., The Routledge Companion to Feminism and Postfeminism, 2nd ed. (London: Routledge, 2001).Google Scholar
Sanguinetti, Giorgio. The Art of Partimento: History, Theory, and Practice in Naples (New York: Oxford University Press, 2012).Google Scholar
Satz, Aura. [Artist’s website], www.iamanagram.com.Google Scholar
Saucier, Catherine. ‘Singing the Lives of the Saints: Hagiographical-Historical Intersections in Music and Worship’, in Herrick, Samantha Kahn, ed., Hagiography and the History of Latin Christendom, 500–1500 (Leiden: Brill, 2020), 161–91.Google Scholar
Sawa, George. Musical and Socio-Cultural Anecdotes from Kitab Al-Aghani Al-Kabir (Leiden: Brill, 2018).Google Scholar
Schlüter, Christoph Bernhard, ed. Lieder von Luise M. Hensel (Paderborn: Verlag von Ferdinand Schöningh, 1869).Google Scholar
Schroeder, David. ‘Listening, Thinking and Writing’, in Keefe, Simon P., ed., The Cambridge History of Eighteenth-Century Music (Cambridge: Cambridge University Press, 2009), 183200.Google Scholar
Schubert, Peter. ‘Maddalena Casulana, “Per lei pos’ in oblio” from Cinta di fior (1570)’, in Parsons, Laurel and Ravenscroft, Brenda, eds., Analytical Essays on Music by Women Composers: Secular and Sacred Music to 1900 (New York: Oxford University Press, 2018), https://doi.org/10.1093/oso/9780190237028.003.0003.Google Scholar
Schulz, Johann Abraham Peter. Lieder im Volkston, bei dem Claviere zu singen, 2nd ed. (Berlin: G. J. Decker, 1785).Google Scholar
Schumann, Robert. ‘Schwärmbriefe’, Neue Zeitschrift für Musik, 3 (8 December 1835), 182.Google Scholar
Schumann, Robert. Tagebücher, vol. 2, ed. Nauhaus, Gerd (Leipzig: VEB Deutscher Verlag für Musik, 1987).Google Scholar
Seddon, Laura. British Women Composers and Instrumental Chamber Music in the Early Twentieth Century (Aldershot: Ashgate, 2013).Google Scholar
Sedgwick, Eve Kosofsky. Between Men: English Literature and Male Homosocial Desire (New York: Columbia University Press, 1985).CrossRefGoogle Scholar
Seeberg, Stefani. ‘Illustrations in the Manuscripts of the Admont Nuns from the Second Half of the Twelfth Century: Reflections on Their Function’, in Beach, Allison I., ed., Manuscripts and Monastic Culture (Turnhout: Brepols, 2007), 99124.CrossRefGoogle Scholar
Sekyrová, Jana. Eliška Šliková: Život neprovdané šlechtičny v první polovině 19. století, Diploma thesis (Jihočeská univerzita, České Budějovice, 2006).Google Scholar
Senlac, Philippa. ‘Personalities & Powers’, Time and Tide, 21 (1921), 57–8.Google Scholar
Shaw, George Bernard. Music in London 189094, rev. ed. (London: Constable, 1932).Google Scholar
Shields, Carol. Unless (London: 4th Estate, 2002).Google Scholar
Shoaf, Matthew. Monumental Sounds: Art and Listening before Dante (Leiden: Brill, 2021).CrossRefGoogle Scholar
Showalter, Elaine. A Literature of Their Own: British Women Novelists from Charlotte Brontë to Doris Lessing (Princeton, NJ: Princeton University Press, 1977).CrossRefGoogle Scholar
Sicard, Jean. Dedicatory letter to Douziéme livre d’airs sérieux et à boire, à 2. & à 3 parties (Paris: Christophe Ballard, 1678).Google Scholar
Siegel, Erica. ‘Elizabeth Maconchy: The Early Years, 1923–1939’, PhD diss. (University of California, Riverside, 2016).Google Scholar
Sladen, Mark. ‘Exhibitions: Reviews – Geneviève Cadieux’, in Art Monthly (1 October 1995), 190; ProQuest edition, 24.Google Scholar
Small, Christopher. Musicking: The Meanings of Performing and Listening (Middletown, CT: Wesleyan University Press, 1998).Google Scholar
Smith, Fanny Morris. ‘The Record of Woman in Music’, Etude, 19 (September 1901), 317.Google Scholar
Smyth, Ethel. Concerto for violin, horn and orchestra; Serenade in D, BBC Philharmonic cond. Odaline de la Martinez, Chandos: 5117610 (1996).Google Scholar
Smyth, Ethel. A Final Burning of Boats etc. (London: Longmans, 1928).CrossRefGoogle Scholar
Smyth, Ethel. Impressions That Remained, vol. 1 (London: Longmans, Green and Co., 1919).Google Scholar
Smyth, Ethel. Letter to Percy Pitt, 24 March 1908. British Library, Percy Pitt Papers, Egerton 3306, f. 78.Google Scholar
Smyth, Ethel. Maurice Baring (London: William Heinemann, 1938).Google Scholar
Solenière, Eugène de. La Femme compositeur (Paris: La Critique, 1895).Google Scholar
Solie, Ruth A.Feminism’, New Grove (Oxford Music Online, 2001).Google Scholar
Solie, Ruth A. Review of Nancy B. Reich, Clara Schumann: The Artist and the Woman (London: Cornell University Press, 1985), in 19th-Century Music, 10 (1986), 7480.CrossRefGoogle Scholar
Solie, Ruth A.Whose Life? The Gendered Self in Schumann’s Frauenliebe Songs’, in Scher, Steven Paul, ed., Music and Text: Critical Inquiries (Cambridge: Cambridge University Press, 1992), 219–40.Google Scholar
Sonami, Laetitia. ‘Lady’s Glove’, https://sonami.net.Google Scholar
Soulié, Eudoxe, Dussieux, Louis, de Chennevières, Philippe, et al., eds. Journal du marquis de Dangeau publié en entier pour la première fois, 19 vols (Paris: F. Didot frères, 1854–60).Google Scholar
Sperber, Roswitha, ed. Women Composers in Germany, transl. Timothy Nevill (Bonn: Inter Nationes, 1996).Google Scholar
Spiegel, Laurie. ‘Graphical GROOVE: Memorial for the VAMPIRE, a Visual Music System’, Organised Sound, 3/3 (1998), 187–91.CrossRefGoogle Scholar
Squire, W. H. Haddon. ‘Rebecca Clarke sees Rhythm as Next Field of Development’, The Christian Science Monitor (9 December 1922), 18.Google Scholar
Stankis, Jessica. ‘Rethinking Cécile Chaminade’s Concert Tour of the United States, 1908’, PhD diss. (Arizona State University, 2006).Google Scholar
Staples, Kate Kelsey. ‘Medieval Europe’, in Meade, Teresa A. and Wiesner, Merry E., eds., A Companion to Global Gender History, 2nd ed. (Hoboken: Wiley-Blackwell, 2021), 285–99.Google Scholar
Stefaniak, Alexander. Becoming Clara Schumann: Performance Strategies and Aesthetics in the Culture of the Musical Canon (Bloomington: Indiana University Press, 2021).CrossRefGoogle Scholar
Stefaniak, Alexander. ‘Clara Schumann and the Imagined Revelation of Musical Works’, Music & Letters, 99/2 (2018), 195223.CrossRefGoogle Scholar
Stefaniak, Alexander. ‘Clara Schumann’s Interiorities and the Cutting Edge of Popular Pianism’, Journal of the American Musicological Society, 70/3 (2017), 697765.CrossRefGoogle Scholar
Stewart-MacDonald, R. H. Review of Anselm Gerhard, London und der Klassizismus in der Musik: Die Idee der ‘absoluten Musik’ und Muzio Clementis Klavierwerke. (Stuttgart and Weimar: Metzler, 2002), Music & Letters, 85/3 (2004), 445–9.CrossRefGoogle Scholar
Stras, Laurie. ‘The Performance of Polyphony in Early Sixteenth-Century Italian Convents’, Early Music, 45/2 (2017), 195214.CrossRefGoogle Scholar
Stras, Laurie. ‘Recording Tarquinia: Imitation, Parody and Reportage in Ingegneri’s “Hor che ’l ciel e la terra e ’l vento tace”’, Early Music, 27/3 (1999), 358–78.CrossRefGoogle Scholar
Stras, Laurie. ‘The Ricreationi per monache of Suor Annalena Aldobrandini’, Renaissance Studies, 26/ 1 (2012), 3459.CrossRefGoogle Scholar
Stras, Laurie. ‘Voci Pari Motets and Convent Polyphony in the 1540s: The Materna Lingua Complex’, Journal of the American Musicological Society, 70/3 (2017), 617–96.CrossRefGoogle Scholar
Stras, Laurie. Women and Music in Sixteenth-Century Ferrara (Cambridge: Cambridge University Press, 2018).CrossRefGoogle Scholar
Stratton, Stephen S.Woman in Relation to Musical Art’, Proceedings of the Musical Association, 9 (1882), 115–46.CrossRefGoogle Scholar
Subramanian, Ashwin, and Chandrashekar, Lakshmi. Yuva Rhythms [Digital album] (Eclipse Nirvana, 2012).Google Scholar
Sumner Lott, Marie. ‘Negotiation Tactics in Louise Farrenc’s Piano Quintets, Opp. 30 and 31 (1839–1840)’, Ad Parnassum, 8/15 (2010), 766.Google Scholar
Talalay, Kathryn. Composition in Black and White: The Life of Philippa Schuyler. The Tragic Story of Harlem’s Biracial Prodigy (New York: Oxford University Press, 1995).Google Scholar
Taruskin, Richard. The Oxford History of Western Music (New York: Oxford University Press, 2005).Google Scholar
Ternant, André de. ‘Short Sketches of Contemporary Women Composers: Maude Valérie White’, The Englishwoman’s Review of Social and Industrial Questions (15 February 1887), 59.Google Scholar
Thomas, Downing A. Aesthetics of Opera in the Ancien Régime, 1647–1785 (Cambridge: Cambridge University Press, 2002).Google Scholar
Thompson, Damian. ‘There’s a Good Reason Why There Are No Great Female Composers’, The Spectator (16 September 2015), www.spectator.co.uk/article/there-s-a-good-reason-why-there-are-no-great-female-composers.Google Scholar
Thompson, Marie. ‘Feminised Noise and the “Dotted Line” of Sonic Experimentalism’, Contemporary Music Review, 35/1 (2016), 85101.CrossRefGoogle Scholar
Thomson, John [‘J. T.’]. ‘Notes of a Musical Tourist’, The Harmonicon, 8 (3 March 1830), 99.Google Scholar
Tick, Judith. American Women Composers before 1870 (originally published 1979), new ed. with foreword by Ruth A. Solie (Rochester NY: University of Rochester Press and Boydell & Brewer, 1995).Google Scholar
Tick, Judith. ‘Passed Away Is the Piano Girl: Changes in American Musical Life, 1870–1900’, in Bowers, Jane and Tick, Judith, eds., Women Making Music (Urbana: University of Illinois Press, 1986), 325–48.Google Scholar
Tick, Judith. ‘Reflections on the Twenty-Fifth Anniversary of Women Making Music’, Women & Music: A Journal of Gender and Culture, 16 (2012), 133–38.CrossRefGoogle Scholar
Tick, Judith. Ruth Crawford Seeger: A Composer’s Search for American Music (New York: Oxford University Press, 1997).CrossRefGoogle Scholar
Tillard, Françoise. Fanny Mendelssohn, transl. Camille Naish (Portland, OR: Amadeus Press, 1996).Google Scholar
Tillet, Évrard Titon du. Le Parnasse françois (Paris: Coignard, 1732).Google Scholar
Tillmann-Healy, Lisa M.Friendship as Method’, Qualitative Inquiry, 9/5 (2003), 729–49.CrossRefGoogle Scholar
Tillmann-Healy, Lisa M. In Solidarity: Friendship, Family, and Activism Beyond Gay and Straight (New York: Routledge, 2015).Google Scholar
Todd, Larry R. Fanny Hensel: The Other Mendelssohn (New York: Oxford University Press, 2010).Google Scholar
Tolley, Thomas. ‘Haydn, the Engraver Thomas Park, and Maria Hester Park’s “Little Sonat’[a]”’, Music & Letters, 82/3 (August 2001), 421–31.CrossRefGoogle Scholar
Touliatos, Diane. ‘Women Composers of Medieval Byzantine Chant’, College Music Symposium (1984), www.jstor.org/stable/40374217.Google Scholar
Tovey, Donald Francis. Essays in Musical Analysis, vol. 5 (Vocal Music) (Oxford: Oxford University Press, 1935–39).Google Scholar
Tuchman, Gaye, and Fortin, Nina E.. ‘Fame and Misfortune: Edging Women Out of the Great Literary Tradition’, American Journal of Sociology, 90 (1984), 7296.CrossRefGoogle Scholar
Tunbridge, Laura. The Song Cycle (Cambridge: Cambridge University Press, 2010).Google Scholar
Turkle, Sherry. ‘Computational Reticence: Why Women Fear the Intimate Machine’, in Kramarae, Cheris, ed., Technology and Women’s Voices (New York: Pergamon Press, 1986), 4161.Google Scholar
Tutti, Cosey Fanni. Re-Sisters: The Lives and Recordings of Delia Derbyshire, Margery Kempe and Cosey Fanni Tutti (London: Faber & Faber, 2022).Google Scholar
Unseld, Melanie. Biographie und Musikgeschichte: Wandlungen biographischer Konzepte in Musikkultur und Musikhistoriographie (Cologne: Böhlau, 2014).CrossRefGoogle Scholar
Vágnerová, Lucie. ‘Sirens/Cyborgs: Sound Technologies and the Musical Body’, PhD diss. (Columbia University, 2016).Google Scholar
Vieira, Ernesto. Diccionario biographico de musicos portuguezes, 2 vols (Lisbon: Moreira, 1900).Google Scholar
Voegelin, Salomé. Sonic Possible Worlds: Hearing the Continuum of Sound (New York: Bloomsbury Academic, 2014).Google Scholar
Waddell, Chyrsoganus. ‘Heloise and the Abbey of the Paraclete’, in Williams, Mark, ed., The Making of Christian Communities in Late Antiquity and the Middle Ages (London: Anthem Press, 2005), 103–16.Google Scholar
Wade, Mara. ‘From Reading to Writing: Women Authors and Book Collectors at the Wolfenbüttel Court – A Case Study of Georg Philipp Harsdörffer’s Frauenzimmer Gesprächspiele’, German Life and Letters, 67/4 (October 2014), 481–95.CrossRefGoogle Scholar
Waeber, Jacqueline. ‘The Voice-Over as “Melodramatic Voice”’, in Hibberd, Sarah, ed., Melodramatic Voices: Understanding Music Drama (Farnham: Ashgate, 2011), 215–35.Google Scholar
Waldoff, Jessica. ‘Does Haydn Have a “C-minor Mood”?’, in Hunter, Mary and Will, Richard, eds., Engaging Haydn: Culture, Context, and Criticism (Cambridge: Cambridge University Press, 2012), 158–86.Google Scholar
Walsh, Mary Roth. Doctors Wanted: No Women Need Apply: Sexual Barriers in the Medical Profession, 18351975 (New Haven, CT: Yale University Press, 1977).Google Scholar
Walsh, Stephen. ‘Music Last Week’, The Listener (8 December 1966), 869.Google Scholar
Walters, Margaret. Feminism: A Very Short Introduction (New York: Oxford University Press, 2005).Google Scholar
Warburton, Dan. ‘Into the Labyrinth’, The Wire, 260 (October 2005), 29.Google Scholar
Washington, Shelley. Big Talk [2016], programme note, www.shelleywashington.com/music-1.Google Scholar
Watson, Laura, Beausang, Ita, and O’Connor-Madsen, Jennifer, eds. Women and Music in Ireland (Woodbridge: Boydell, 2022).Google Scholar
Wearing, J. P. The London Stage 1910–1919: A Calendar of Plays and Players, 2 vols (Metuchen, NJ: Scarecrow Press, 1982).Google Scholar
Webster, James. ‘Haydn’s Aesthetics’, in Clark, Caryl, ed., The Cambridge Companion to Haydn (Cambridge: Cambridge University Press, 2005), 3044.CrossRefGoogle Scholar
Webster, James. Haydn’s ‘Farewell’ Symphony and the Idea of Classical Style (Cambridge: Cambridge University Press, 1991).CrossRefGoogle Scholar
Wegman, Rob C.From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450–1500’, Journal of the American Musicological Society, 49/3 (1996), 409–79.CrossRefGoogle Scholar
Wegman, Rob C.Who Was Josquin?’, in Sherr, Richard and Urquhart, Peter, eds., The Josquin Companion (Oxford: Oxford University Press, 2000), 2150.Google Scholar
Weinfield, Elizabeth. ‘Leonora Duarte (1610–1678): Converso Composer in Antwerp’, PhD diss. (City University of New York, 2019).Google Scholar
Weliver, Phyllis. Mary Gladstone and the Victorian Salon: Music, Literature, Liberalism (Cambridge: Cambridge University Press, 2017).CrossRefGoogle Scholar
Westerkamp, Hildegard. ‘Linking Soundscape Composition and Acoustic Ecology’, Organised Sound, 7/1 (2002), 51–6.CrossRefGoogle Scholar
Westerkamp, Hildegard. ‘Soundwalking’, Sound Heritage, 3/4 (1974). www.hildegardwesterkamp.ca.Google Scholar
White, Barbara A.Difference or Silence? Women Composers between Scylla and Charybdis’, Indiana Theory Review, 17/1 (1996), 7785.Google Scholar
White, Maude Valérie. Friends and Memories (London: Edward Arnold, 1914).Google Scholar
White, Maude Valérie. My Indian Summer (London: Grayson & Grayson, 1932).Google Scholar
White, Maude Valérie. ‘So We’ll Go No More A’roving’, Felicity Lott (soprano) and Graham Johnson (piano), YouTube www.youtube.com/watch?v=9Ud-JEKc1LU.Google Scholar
Wiley, Christopher. ‘Music and Literature: Ethel Smyth, Virginia Woolf, and “The First Woman to Write an Opera”’, Musical Quarterly, 96/2 (2013), 263–95.CrossRefGoogle Scholar
Wiley, Christopher. ‘“When a Woman Speaks the Truth About her Body”: Ethel Smyth, Virginia Woolf, and the Challenges of Lesbian Auto/Biography’, Music & Letters, 85/3 (2004), 388414.CrossRefGoogle Scholar
Wilhelmy, Petra. Der Berliner Salon im 19. Jahrhundert (1780–1914) (Munich: deGruyter, 1989).CrossRefGoogle Scholar
William McCarthy, Margaret. Amy Fay: America’s Notable Woman of Music (Warren, MI: Harmonie Park Press, 1995).Google Scholar
Williams, Margaret, dir. Elizabeth Maconchy [documentary]. (Arts Council England, 1985).Google Scholar
Wilson Kimber, Marian. ‘Fanny Hensel’s Seasons of Life: Poetic Epigrams, Vignettes, and Meaning in Das Jahr’, Journal of Musicological Research, 27/4 (2008), 359–95.CrossRefGoogle Scholar
Wilson Kimber, Marian, ‘From the Concert Hall to the Salon: The Piano Music of Clara Wieck Schumann and Fanny Mendelssohn Hensel’, in Todd, R. Larry, ed., Nineteenth-Century Piano Music, 2nd ed. (New York: Routledge, 2003), 316–55.Google Scholar
Winston-Allen, Anne. Convent Chronicles: Women Writing about Women and Reform in the late Middle Ages (University Park: Pennsylvania State University Press, 2004).Google Scholar
Withrow, Florence. ‘Women of France (Concluded)’, The Public Health Journal, 6/7 (July 1915), 341.Google Scholar
Wogan-Browne, JocelynAfterword: Barking and the Historiography of Female Community’, in Brown, Jennifer N. and Bussell, Donna Alfano, eds., Barking Abbey and Medieval Literary Culture: Authorship and Authority in a Female Community (Woodbridge: Boydell & Brewer, 2012), 283–96.CrossRefGoogle Scholar
Wollenberg, Susan. ‘Barthélémon [married name Henslow], Cecilia Maria’, ODNB (2004).Google Scholar
Wollenberg, Susan. ‘Fanny Hensel’s Op. 8, No. 1: A Special Case of “Multum in Parvo”?’, in ‘Fanny Hensel (née Mendelssohn Bartholdy) and Her Circle’: Proceedings of the Bicentenary Conference, Oxford, July 2005, special issue, Nineteenth-Century Music Review, 4/2 (2007), 101–17.CrossRefGoogle Scholar
Wollenberg, Susan, ‘“New Paths to Analysis”: The Case of Women Composers’, in Hascher, Xavier, Ayari, Mondher, and Bardez, Jean-Michel, eds., L’analyse musicale aujourd’hui – Music Analysis Today (Le Vallier: Delatour France, 2015), 291312.Google Scholar
Wollenberg, Susan. ‘Songs of Travel: Fanny Hensel’s Wanderings’, in Rodgers, Stephen, ed., The Songs of Fanny Hensel (New York: Oxford University Press, 2021), 5574.CrossRefGoogle Scholar
Wollenberg, Susan. ‘“The Worlds of the Fortepiano”, review of R. Bösel, ed., La cultura del fortepiano / Die Kultur des Hammerklaviers 1750–1830: Atti del Convegno internazionale di studi / Akten der internationalen Studientagung (Rome, 26–29 May 2004), Quaderni Clementiani 3 (Bologna: Ut Orpheus Edizioni, 2009)’, Early Music, 37/4 (November 2009), 673–5.Google Scholar
Wood, Elizabeth. ‘The Lesbian in the Opera: Desire Unmasked in Smyth’s Fantasio and Fête Galante’, in Blackmer, Corinne E. and Smith, Patricia Juliana (eds.), En Travesti: Women, Gender Subversion, Opera (New York: Columbia University Press, 1995), 285305.Google Scholar
Wood, Elizabeth. ‘On Deafness and Musical Creativity: The Case of Ethel Smyth’, Musical Quarterly, 92/1/2 (2009), 3369.CrossRefGoogle Scholar
Wood, Elizabeth. ‘Performing Rights: A Sonography of Women’s Suffrage’, Musical Quarterly, 79/4 (Winter 1995), 606–43.CrossRefGoogle Scholar
Goertzen, Woodring, Valerie, , ‘Clara Wieck Schumann’s Improvisations and Her “Mosaics” of Small Forms’, in Rasch, Rudolf, ed., Beyond Notes: Improvisation in Western Music of the Eighteenth and Nineteenth Centuries (Turnhout: Brepols, 2011), 163–83.Google Scholar
Woods, Jean M.Opitz and the Women Poets’, in Becker-Cantarino, Barbara and Fechner, Jürg-Ulrich, eds., Opitz und seine Welt: Festschrift für Georg Schulz-Behrend, Chloe 10 (Amsterdam: Rodopi, 1990), 569–86.Google Scholar
Woods, Jean M. and Fürstenwald, Maria. Schriftstellerinnen, Künstlerinnen und gelehrte Frauen des deutschen Barock: Ein Lexikon (Stuttgart: J. B. Metzlersche Verlagsbuchhandlung, 1984).CrossRefGoogle Scholar
Woolf, Virginia. A Room of One’s Own [1929] (New York: Harcourt, Brace and World, 1957).Google Scholar
Xepapadakou, Avra, and Charkiolakis, Alexandros, eds. Interspersed with Musical Entertainment: Music in Greek Salons of the 19th Century (Athens: Hellenic Music Centre, 2017).Google Scholar
Xu, Peng. ‘Courtesan vs. Literatus: Gendered Soundscapes and Aesthetics in Late-Ming Singing Culture’, T’oung Pao, 100/4–5 (2014), 404–59.CrossRefGoogle Scholar
Xu, Peng, ‘The Music Teacher: The Professionalization of Singing and the Development of Erotic Vocal Style During Late Ming China’, Harvard Journal of Asiatic Studies, 75/2 (2015), 259–97.CrossRefGoogle Scholar
Yardley, Ann Bagnall. ‘Clares in Procession: The Processional and Hours of the Franciscan Minoresses at Aldgate’, Women & Music: A Journal of Gender and Culture, 13 (2009), 123.CrossRefGoogle Scholar
Yardley, Ann Bagnall. ‘The Liturgical Dramas for Holy Week at Barking Abbey’, Medieval Feminist Forum, 49 (2014), 139, https://scholarworks.wmich.edu/mff/vol49/iss3.CrossRefGoogle Scholar
Yardley, Ann Bagnall. Performing Piety: Musical Culture in Medieval English Nunneries (New York: Palgrave Macmillan, 2006).CrossRefGoogle Scholar
Yelloly, Margaret. ‘“The Ingenious Miss Turner”: Elizabeth Turner (d 1756), Singer, Harpsichordist and Composer’, Early Music, 33/1 (2005), 6579.CrossRefGoogle Scholar
Yelloly, Margaret. ‘Lady Mary Killigrew (c.1587–1656): Seventeenth-Century Lutenist’, The Lute, 42 (2002), 2746.Google Scholar
Youens, Susan. Schubert, Müller, and Die schöne Müllerin’ (Cambridge: Cambridge University Press, 1997).Google Scholar
Young, Rob. ‘The Wire: Cross Platform’, The Wire (February 2006), www.thewire.co.uk/issues/264.Google Scholar
Yui, Lisa. ‘Marie Pleyel’, DMA diss. (Manhattan School of Music, 2005).Google Scholar
Zattra, Laura. ‘Audiogrammi of a Collective Intelligence: The Composer-Researchers of S2FM, SMET, NPS, and Other Mavericks’, in Groth, Sana Krogh and Schulze, Holger, eds., The Bloomsbury Handbook of Sound Art (New York: Bloomsbury Academic, 2020), 273–94.Google Scholar
Zayaruznaya, Anna. The Monstrous New Art: Divided Forms in the Late Medieval Motet (Cambridge: Cambridge University Press, 2015).CrossRefGoogle Scholar
Zeitlin, Judith T.“Notes of Flesh” and the Courtesan’s Song in Seventeenth-Century China’, in The Courtesan’s Arts: Cross-Cultural Perspectives (New York: Oxford University Press, 2006).Google Scholar
Zigler, Amy. ‘“Perhaps What Men Call a Sin … ”: An Examination of Ethel Smyth’s The Prison’, in Storino, Mariateresa and Wollenberg, Susan, eds., Women Composers in New Perspectives, 1800–1950: Genres, Contexts and Repertoire, Speculum Musicae, XLIX (Turnhout: Brepols, 2023), 213–34.Google Scholar
Zigler, Amy. ‘“What a Splendid Chance Missed!” Dame Ethel Smyth’s Der Wald at the Met’, Opera Journal, 54/2 (2021), 109–63.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Edited by Matthew Head, King's College London, Susan Wollenberg, University of Oxford
  • Book: The Cambridge Companion to Women Composers
  • Online publication: 23 May 2024
  • Chapter DOI: https://doi.org/10.1017/9781108774079.017
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Edited by Matthew Head, King's College London, Susan Wollenberg, University of Oxford
  • Book: The Cambridge Companion to Women Composers
  • Online publication: 23 May 2024
  • Chapter DOI: https://doi.org/10.1017/9781108774079.017
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Edited by Matthew Head, King's College London, Susan Wollenberg, University of Oxford
  • Book: The Cambridge Companion to Women Composers
  • Online publication: 23 May 2024
  • Chapter DOI: https://doi.org/10.1017/9781108774079.017
Available formats
×