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), 99–123.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), 93–116.Google Scholar

Altstatt, Alison N. ‘Re-membering the Wilton Processional’, Notes, 72 (2016), 690–732.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), 11–24, 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), 81–96.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), 5–19.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), 59–88.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), 185–203.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), 61–73.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 1889–1967: 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), 93–105.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 (1539–1572) (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), 16–34.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), 394–416.CrossRefGoogle Scholar

Block, Adrienne Fried. Amy Beach: Passionate Victorian – The Life and Work of an American Composer 1867–1944 (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), 1–20.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), 11–18.Google Scholar

Bosma, Hannah. ‘Bodies of Evidence, Singing Cyborgs and Other Gender Issues in Electrovocal Music’, Organised Sound, 8/1 (2003), 5–17.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), 97–117.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), 85–96.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, 1150–1950 (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), 11–15.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), 47–65.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], 25–31, 58–61, 73–81.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; 177–183; 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), 99–123.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, 800–1500 (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), 13–31.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), 13–26.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), 396–408.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), 11–26.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), 45–59.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), 9–45.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), 53–93.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), 91–160.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), 89–133.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), 275–302.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), 7–20.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), 15–34.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), 81–93.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), 31–104.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), 15–21.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), 393–429.CrossRefGoogle Scholar

Cusick, Suzanne. ‘Feminist Theory, Music Theory, and the Mind/Body Problem’, Perspectives of New Music, 32/1 (Winter 1994), 8–27.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), 97–118.Google Scholar

Davies, Joe. ‘Introduction: Clara Schumann in the Musicological Imagination’, in Davies, Joe, ed., Clara Schumann Studies (Cambridge: Cambridge University Press, 2022), 1–12.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), 5–38.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), 25–46.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, 1–10.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), 433–506.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), 189–212.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), 83–129.CrossRefGoogle Scholar

Fauser, Annegret. ‘“La princesse Maleine”: A Composer and Her Heroine as Literary Icons’, Journal of the Royal Musical Association, 122/1 (1997), 68–108.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), 7–20.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), 351–408.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), 93–118.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), 271–303.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), 84–125.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), 377–414.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, 1870–1920: 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, 1927–77 (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), 3–10.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), 95–100.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, 1150–1950 (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), 65–80.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), 33–48.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), 91–152.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), 21–44.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, 1919–1939 (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), 16–40.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), 18–42.CrossRefGoogle Scholar

Harris, José. Private Lives, Public Spirit: Britain 1870–1914 (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), 71–97.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), 42–65.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), 67–87.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), 443–510.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), 23–37.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), 81–92.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 (1877–1953) (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), 16–51.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), 187–203.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), 97–146.Google Scholar

Jackson, Barbara Garvey. ‘Oratorios by Command of the Emperor: The Music of Camilla de Rossi’, Current Musicology, 42 (1986), 7–19.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, 55–90.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), 37–73.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), 65–98.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), 67–84.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), 25–30.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), 79–109.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), 85–101.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), 187–211.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), 21–39.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), 69–100.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), 595–641; 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), 55–68.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), 73–95.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), 24–55.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), 12–35, 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), 1–12, 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), 53–84.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), 20–48.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), ix–xii.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), 1–35.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), 3–14.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), 176–203.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), 177–221.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), 88–110.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), 65–83.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), 27–48.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), 90–115.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), 22–35.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), 67–170.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), 68–72.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), 27–44.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 1963–80, 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, 1150–1950 (Urbana: University of Illinois Press, 1987), 282–303.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), 45–60.CrossRefGoogle Scholar

Ouzounian, Gascia. ‘Embodied Sound: Aural Architectures and the Body’, Contemporary Music Review, 25/1–2 (2006), 69–79.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), 57–96.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. L’Epistre 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), 1–15.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), 9–23.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), 35–43.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), 1–10.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 1868–1914: 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), 255–308.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), 25–43.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), 8–30.CrossRefGoogle Scholar