Ammer, Christine. Unsung: A History of Women in American Music. Westport, Conn.: Greenwood Press, 1980.
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Attallah, Naim. Women. London and New York: Quartet Books, 1987.
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Baldauf-Berdes, Jane L. Women Musicians of Venice: Musical Foundations, 1525-1855. Revised ed. Oxford: Clarendon Press, 1996.
Barron, Frank. Creative Person and Creative Process. New York: Holt, Rinehart & Winston, 1969.
Battersby, Christine. Gender and Genius: Towards a Feminist Aesthetics. Bloomington and Indianapolis: Indiana University Press, 1989.
Beer, Anna. Sounds and Sweet Airs: The Forgotten Women of Classical Music. London: Oneworld, 2016 [Includes chapters on Francesca Caccini, Barbara Strozzi, Elisabeth-Claude Jacquet de la Guerre, Marianna Martinez, Fanny Mendelssohn Hensel, Clara Schumann, Lili Boulanger, and Elizabeth Maconchy].
Bergeron, Katherine and Philip V. Bohlman, eds. Disciplining Music: Musicology and Its Canons. Chicago and London: University of Chicago Press, 1992.
Block, Adrienne Fried. Amy Beach, Passionate Victorian: The Life and Work of an American Composer 1867-1944. New York and Oxford: Oxford University Press, 1998.
Block, Adrienne Fried and Carol Neuls Bates, eds. Women in American Music: A Bibliography of Music and Literature. Westport, Conn. and London: Greenwood Press, 1979.
Bogin, Meg. The Women Troubadours. New York: Norton, 1980.
Bowers, Jane and Judith Tick, eds. Women Making Music: The Western Art Tradition, 1150-1950. Urbana and Chicago: University of Illinois Press, 1986.
Brett, Phillip, Elizabeth Wood and Gary C. Thomas, eds. Queering the Pitch: The New Gay and Lesbian Musicology. New York and London: Routledge, 1994.
Briscoe, James R., ed. Historical Anthology of Music by Women. Bloomington and Indianapolis: Indiana University Press, 1987.
________. New Historical Anthology of Music by Women. Bloomington and Indianapolis: Indiana University Press, 2004.
Brown, Rae Linda. The Heart of a Woman: The Life and Music of Florence B. Price. Urbana and Chicago: University of Illinois Press, 2020.
Chadwick, Whitney. Women, Art, and Society. London: Thames & Hudson, 1990.
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Citron, Marcia J. Gender and the Musical Canon. Cambridge: Cambridge University Press, 1993.
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Cusick, Suzanne G. Francesca Caccini at the Medici Court: Music and the Circulation of Power. Chicago: University of Chicago Press, 2009.
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Drinker, Sophie. Music and Women: The Story of Women in Their Relation to Music. Washington: Zenger, 1977. A reprint of the 1948 edition.
Eastman, Sheila and Timothy J. McGee. Barbara Pentland. Toronto: University of Toronto Press, 1983.
Eckhardt, Ferdinand. Music from Within: A Biography of the Composer S.C. Eckhardt-Grammate. Ed. Gerald Bowler. Winnipeg: University of Manitoba Press, 1985.
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Elson, Arthur. Woman's Work in Music. Boston: L.C. Page, 1903.
Elson, Lewis C. The History of American Music. New York: Burt Franklin, 1971. [A reprint of the 1925 edition].
Fausto-Sterling, Anne. Myths of Gender: Biological Myths about Women and Men. New York: Basic Books, 1985.
Flanagan, Sabina. Hildegard of Bingen: A Visionary Life. London and New York: Routledge, 1989.
Fuller, Sophie. The Pandora Guide to Women Composers: Britain and the United States 1629-Present. London: HarperCollins, 1994.
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Girod, Francoise. Alma Mahler, or the Art of Being Loved. Translated by R.M. Stock. Oxford and New York: Oxford University Press, 1991.
Glickman, Sylvia and Martha Furman Schleifer, eds. Women Composers: Music through the Ages. New York: G.K. Hall & Co. An Imprint of Simon & Shuster Macmillan. 8 vols.: I-II (1996), III-V (1998), VI-VIII (1999-2005).
Godt, Irving. Marianna Martines: A Woman Composer in the Vienna of Mozart and Haydn. Rochester: University of Rochester Press, 2010.
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Gray, Anne K. The World of Women in Classical Music. La Jolla, Calif.: WordWorld, 2007.
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Green, Mildred Denby. Black Women Composers: A Genesis. Boston: Twayne, 1983.
Greenglass, Esther R. A World of Difference: Gender Roles in Perspective. Toronto: John Wiley & Sons, 1982.
Greer, Germaine. The Obstacle Race: The Fortunes of Women Painters and Their Work. London: Picador, 1981.
Halstead, Jill. Ruth Gipps: Anti-Modernist, Nationalism and Difference in English Music. Aldershot and Brookfield, USA: Ashgate, 2006.
Halstead, Jill. The Woman Composer: Creativity and the Gendered Politics of Musical Composition. Aldershot and Brookfield, USA: Ashgate, 1997.
Hanslick, Eduard. On the Musically Beautiful. Translated from the 8th German edition by Geoffrey Paysant. Indianapolis: Hackett, 1986.
Harries, Meirion and Susie Harries. A Pilgrim Soul: The Life and Work of Elisabeth Lutyens. London: Michael Joseph, 1989.
Hartig, Linda. Violet Archer: A Bio-Bibliography. New York: Greenwood Press, 1991.
Hartl, Karla and Erik Entwistle, eds. The Kapralova Companion. Lanham, MD: Lexington Books, 2011.
Haste, Cate. Passionate Spirit: The Life of Alma Mahler. New York: Basic Books, 2019.
Helsinger, Elizabeth K., Robin Lauterbach Sheets and William Veeder. The Woman Question: Society and Literature in Britain and America 1837-1883. 3 vols. Chicago and London: University of Chicago Press, 1989.
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Hixon, Donald I. Thea Musgrave: A Bio-Bibliography. Westport, Conn.: Greenwood Press, 1984.
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Hyde, Derek. New Found Voices: Women in Nineteenth Century English Music. 3rd ed. Aldershot and Brookfield USA: Ashgate, 1998.
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Kos, Koraljka. Dora Pejacevic. Zagreb: Croatian Music Information Centre, 2008.
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Krebs, Harold and Sharon Krebs. Josephine Lang: Her Life and Songs. Oxford and New York: Oxford University Press, 2007.
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Mahler-Werfel, Alma. And the Bridge is Love. New York: Harcourt, Brace and Co., 1956.
___________. Diaries 1898-1902. Selected and translated by Antony Beaumont. Ithaca: Cornell University Press, 1998.
Marshall, Kimberly, ed. Rediscovering the Muses: Women's Musical Traditions. Boston: Northeastern University Press, 1993.
Mathias, Rhiannon. Lutyens, Maconchy, Williams, and Twentieth-Century British Music: A Blest Trio of Sirens. Aldershot: Ashgate, 2012.
May, Florence. The Girlhood of Clara Schumann: Clara Wieck and Her Time. London: Edward Arnold, 1912.
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________. Nadia Boulanger: A Life in Music. New York: Norton, 1982.
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________. Streaks of Life. London: Longmans, Green & Co., 1921.
________. A Final Burning of Boats. London: Longmans, Green & Co., 1928.
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________. Beecham and Pharaoh. London: Chapman & Hall, 1935.
________. As Time Went On. London: Longmans, Green & Co., 1936.
________. What Happened Next. London: Longmans, Green & Co., 1940.
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articles, essays, and parts of books
Fuller, Sophie. Women Composers during the British Musical Renaissance, 1880-1918. Ph.D. dissertation, King's College, University of London, 1998.
Gates, Eugene. The Woman Composer Question: Four Case Studies from the Romantic Era. Ed.D. dissertation, University of Toronto, 1992.
Merrill, E. Lindsay. Mrs. H. H. A. Beach: Her Life and Music. Ph.D. dissertation, Eastman School of Music of the University of Rochester, 1963.
Sirota, Victoria Ressmeyer. The Life and Works of Fanny Mendelssohn Hensel. Mus.A.D. dissertation, Boston University School of the Arts, 1981.
Theeman, Nancy Sarah. The Life and Songs of Augusta Holmes. Ph.D. dissertation, University of Maryland, 1983.
Adams, Mrs. Crosby. "Musical Creative Work among Women." Music 9 (January 1896): 262-72.
Armstrong, William. "New Gems in the Old Classics: A Talk with Mrs. H. H. A. Beach." Etude 22 (February 1904): 51-51.
Barkin, Elaine, ed. "In Response." Perspectives of New Music 20/21. (1981-82): 288-329.
Beach, Mrs. H. H. A. "Woman's Work in Music, A Letter from Mrs. H. H. A. Beach." Etude 16 (May 1898): 100.
Beecham, Sir Thomas. "Dame Ethel Smyth (1858-1944)." Musical Times 99 (July 1958): 363-65.
Bernstein, Jane A. " 'Shout, Shout, Up with Your Song!' Dame Ethel Smyth and the Changing Role of the British Woman Composer." In Women Making Music: The Western Art Tradition, 1150-1950, pp. 304-24. Edited by Jane Bowers and Judith Tick. Urbana and Chicago: University of Illinois Press, 1986.
Block, Adrienne Fried. "Why Amy Beach Succeeded as a Composer: The Early Years." Current Musicology 36 (1983): 41-59.
Bloomfield-Zeisler, Fanny. "Woman in Music." American Art Journal 48 (17 October 1891): 1-2.
Borroff, Edith. "Women Composers: Reminiscence and History." College Music Symposium 15 (Fall 1975): 26-33.
Brooks, Benjamin. "The 'How' of Creative Composition: A Conference with Mrs. H. H. A. Beach." Etude 41 (March 1943): 151, 208-09.
Brower, Edith. "Is the Musical Idea Masculine?" Atlantic Monthly, March 1894, pp. 332-39.
Brower, Harriette. "A Personal Interview with Mrs. H. H. A. Beach." Musical Observer 12 (May 1915): 273-74.
Burgan, Mary. "Heroines at the Piano: Women and Music in Nineteenth-Century Fiction." In The Lost Chord: Essays on Victorian Music, pp. 42-67. Edited by Nicholas Temperley. Bloomington and Indianapolis: Indiana University Press, 1989.
Calland, Deborah and Barry Milligan. "The Real Alma Mahler." BBC Music Magazine (June 2019): 48-52.
Citron, Marcia J. "The Lieder of Fanny Mendelssohn Hensel." Musical Quarterly 49 (1983): 57-94.
________. "Felix Mendelssohn's Influence on Fanny Mendelssohn Hensel as a Professional Composer." Current Musicology 37/38 (1984): 9-17.
________. "Gender, Professionalism, and the Musical Canon." Journal of Musicology 8 (Winter 1990): 102-17.
Clark, Helen A. "The Nature of Music and its Relation to the Question of Women in Music." Music 7 (March 1895): 453-61.
Copland, Aaron. "The Teacher: Nadia Boulanger." In his Copland on Music, pp. 83-91. New York: Norton, 1960.
Curtis, Liane. "A Case of Identity: Rescuing Rebecca Clarke." Musical Times 137 (May 1996): 15-21.
Dalen, Brenda. "The Composer's Voice: 'What Women Can Do'." Canadian University Music Review 16/1 (1995): 14-40. [Special issue in honour of Canadian composer Violet Archer. Dalen's article focuses on Archer's life and career.]
Duchen, Jessica. "Clara Schumann." BBC Music Magazine (June 2019): 32-41.
Ecker, Gisela. Introduction to her Feminist Aesthetics. Translated by Harriet Anderson. London: The Women's Press, 1985.
Ege, Samantha. "Florence Price and the Politics of Her Existence." Kapralova Society Journal 16, no. 2 (Spring 2018): 1-10.
Eggleston, George Cary. "The Education of Women." Harper's New Monthly Magazine. July 1883, pp. 292-96.
Einstein, Robert. "Yes, Virginia, There Are Women Composers in Early Music." Early Music America 3 (Spring 1997): 22-27.
Elder, Dean. "Where Was Amy Beach All These Years? An Interview with Mary Louise Boehm." Clavier 15 (December 1976): 14-17.
Ellis, Havelock. "The Mind of Woman." In his The Philosophy of Conflict and Other Essays in War-Time, 2nd series, pp. 157-74. London: Constable, 1919.
Farnsworth, Paul R. "The Effects of Role-Taking on Artistic Achievement." Journal of Aesthetics and Art Criticism 18 (March 1960): 245-49.
Fay, Amy. "Women and Music." Music 18 (October 1900): 505-07.
Finck, Henry T. "Woman's Conquest of Music." Musician 7 (May 1902): 186.
Flor-Henry, Pierre. "Mood, the Right Hemisphere and the Implications of Spatial Information Perceiving Systems." Research Communications in Psychology, Psychiatry and Behavior 8 (1984): 143-70.
Fromm, Paul. "Creative Women in Music: A Historical Perspective." In A Life for New Music: Selected Papers of Paul Fromm, pp. 42-51. Edited by David Gable and Christoph Wolff. Cambridge, Mass.: Harvard University Press, 1988.
Fuller, Sophie. '"Devoted Attention': Looking for Lesbian Musicians in Fin-de-Siecle Britain." In Queer Episodes in Music and Modern Identity, pp. 79-101. Edited by Sophie Fuller and Lloyd Whitesell. Urbana and Chicago: University of Illinois Press, 2002.
Gates, Eugene. "Clara Schumann: A Composer's Wife as Composer." Kapralova Society Journal 7, no. 2 (Fall 2009): 1-7.
______. "Damned if You Do and Damned if You Don't: Sexual Aesthetics and the Music of Dame Ethel Smyth." Journal of Aesthetic Education 31 (Spring 1997): 63-71. Reprinted in Kapralova Society Journal 4, no. 1 (Spring 2006): 1-5.
______. "Emerging from the Shadows: Maude Valerie White, a Significant Figure in the History of English Song." Kapralova Society Journal 18, no. 1 (Winter 2020): 1–6.
______. "Ethel Smyth: Pioneer of English Opera. Kapralova Society Journal 11, no. 1 (Spring 2013): 1-8.
______. "Fanny Mendelssohn Hensel: A Life of music within domestic limits." Kapralova Society Journal 5, no. 2 (Fall 2007): 1-11.
______. "Female Composers: A Critical Review of the Psychological Literature." Canadian Music Educator 39 (Winter 1998): 37-41. Reprinted in Kapralova Society Journal 3, no. 2 (Fall 2005): 6-11.
______. "Mrs. H.H.A. Beach: American Symphonist." Kapralova Society Journal 8, no. 2 (Fall 2010): 1-10.
______. "The Woman Composer Question: Philosophical and Historical Perspectives." Kapralova Society Journal 4, no. 2 (Fall 2006): 1-11.
______. "Where Are All the Women Composers? Reclaiming a Cultural Heritage." Canadian Music Educator 35 (Spring 1994): 17-19. Reprinted in Kapralova Society Journal 3, no. 1 (Spring 2005): 8-10.
______. "Why Have There Been No Great Women Composers? Psychological Theories, Past and Present." Journal of Aesthetic Education 28 (Summer 1994): 27-34.
Haas, Michael. "Women Composers: 'Degenerate,' 'Deviant,' or Deliberately Downgraded?" Kapralova Society Journal 15, no. 1 (Spring 2017): 10-12.
Hambro, Camilla. "Agathe Backer Grondahl (1847-1907): 'A Perfectly Plain Woman?'". Kapralova Society Journal 7, no. 1 (Spring 2009): 1-7.
Harris, Lauren Julius. "Sex Differences in Spatial Ability: Possible Environmental, Genetic, and Neurological Factors." In Asymmetrical Functions of the Brain, pp. 405-522. Edited by Marcel Kinsbourne. Cambridge: Cambridge University Press, 1978.
Hartl, Karla. "Kapralova as a Composer of the Week: The BBC Interview. Kapralova Society Journal 17, no. 1 (Spring 2019): 1-8.
Hinely, Mary Brown. "The Uphill Climb of Women in American Music: Conductors and Composers." Music Educators Journal 70 (May 1984): 42-45.
Hughes, Edwin. "The Outlook for the Young American Composer: An Interview with the Distinguished American Composer, Mrs. H. H. A. Beach." Etude 33 (January 1915): 13-14.
"Is There a Feminist Aesthetic in Music?" Heresies, no. 10 (1980), pp. 20-24.
Jezic, Diane and Daniel Binder. "A Survey of College Music Textbooks: Benign Neglect of Women Composers?" In The Musical Woman: An International Perspective, 1984-85, pp. 445-69. Edited by Judith Lang Zaimont. New York: Greenwood Press, 1987.
Kallberg, Jeffrey. "The Harmony of the Tea Table: Gender and Ideology in the Piano Nocturne." In his Chopin at the Boundaries: Sex, History, and Musical Genre, pp. 30-61. Cambridge, Massachusetts and London, England: Harvard University Press, 1998.
Kimber, Marian Wilson. "Felix and Fanny: Gender, Biography and History." In The Cambridge Companion to Mendelssohn, pp. 42-52. Edited by Peter Mercer-Taylor. Cambridge: Cambridge University Press, 2004.
______. "From the Concert Hall to the Salon: The Piano Music of Clara Wieck Schumann and Fanny Mendelssohn Hensel," In Nineteenth-Century Piano Music, 2nd. ed., pp. 316-355. Edited by R. Larry Todd. New York and London: Routledge, 2004.
Ladd, George Trumbull. "Why Women Cannot Compose." Yale Review 6 (July 1917): 789-806.
Lamb, Roberta. "Are There Gender Issues in School Music?" Canadian Music Educator 31 (May 1990): 9-13.
Leonard, Kendra Preston. " 'Excellence in Execution' and 'Fitness for Teaching': Assessments of Women at the Conservatoire Américain." Women & Music: A Journal of Gender and Culture 11 (2007): 29-50.
Levy, A.H. "Double-Bars and Double Standards: Female Composers in America 1800-1920." International Journal of Women's Studies 6 (March/April 1983): 162-75.
Mabary, Judith. "Vitezslava Kapralova and the Benefits of Advocacy." Kapralova Society Journal 13, no. 2 (Fall 2015): 1-6.
MacDonald, Claudia. "Are We There? Women's Studies in a Professional Music Program." Women & Music: A Journal of Gender and Culture 8 (2004): 42-46.
Nochlin, Linda. "Why Have There Been No Great Women Artists?" In Woman in Sexist Society: Studies in Power and Powerlessness, pp. 480-510. Edited by Vivian Gornick and Barbara K. Moran. New York and Scarborough, Ont.: Mentor, 1971.
Olson, Judith E. "Luise Adolpha Le Beau: Composer in Late Nineteenth Century Germany." In Women Making Music: The Western Art Tradition, 1150-1950, pp. 282-303. Edited by Jane Bowers and Judith Tick. Urbana and Chicago: University of Illinois Press, 1986.
Parsons, James. "Emerging from the Shadows: Fanny Mendelssohn and Clara Schumann." Opus 2 (February 1986): 27-31.
Paige, Diane M. "Kapralova and the Muses: Understanding the Qualified Composer." Kapralova Society Journal 10, no. 2 (Fall 2012): 1-6.
Reich, Nancy B. "The Power of Class: Fanny Hensel." In Mendelssohn and His World, pp. 86-99. Edited by R. Larry Todd. Princeton: Princeton University Press, 1991.
Richards, Janet Radcliffe. "Women's Abilities and Women's Rights." Manchester Guardian Weekly, 3 December 1989, p. 23.
Rieger, Eva. "'Dolce semplice'? On the Changing Role of Women in Music." In Feminist Aesthetics, pp.135-49. Edited by Gisela Ecker. Translated by Harriet Anderson. London: Women's Press, 1985.
______. " 'I Recycle Sounds': Do Women Compose Differently?" In Source Readings in Music History, pp. 1415-20. Revised ed. Edited by Oliver Strunk and Leo Treitler. New York: Norton, 1998.
Rorem, Ned. "Boulanger as Teacher." In his Setting the Tone: Essays and a Diary, pp. 138-43. New York: Limelight Editions, 1984.
Rorem, Ned. "Ladies' Music." In his Critical Affairs: A Composer's Journal, pp. 95-110. New York: George Braziller, 1970.
Rorem, Ned. "Women in Music." In his Setting the Tone: Essays and a Diary, pp. 123-26. New York: Limelight Editions, 1984.
Rubin-Rabson, Grace. "Why Haven't Women Become Great Composers?" High Fidelity/Musical America 23 (February 1973): 47-50.
Sang, Barbara E. "Women and the Creative Process." The Arts in Psychotherapy 8 (1981): 43-48.
Sayers, Elizabeth. "Deconstructing McClary: Narrative, Feminine Sexuality, and Feminism in Susan McClary's Feminine Endings." College Music Symposium 33/34 (1993-94): 41-55.
Schopenhauer, Arthur. "On Women." In his Essays and Aphorisms, pp. 80-88. Translated by R.J. Hollingdale. Harmondsworth: Penguin Books, 1981.
Scott, Derek B. "The Sexual Politics of Victorian Musical Aesthetics." Journal of the Musical Association, 119/1 (1994): 91-114.
Seashore, Carl E. "Why No Great Women Composers?" In his In Search of Beauty in Music: A Scientific Approach to Musical Esthetics, pp. 363-67. New York: The Ronald Press, 1947.
Sémerjian, Ludwig. "Clara Schumann: New Cadenzas for Mozart's Piano Concerto in D Minor. Romantic Visions of a Classical Masterpiece." Kapralova Society Journal, 17, no. 2 (Fall 2019): 1–9.
Shields, Stephanie A. "Functionalism, Darwinism, and the Psychology of Women." American Psychologist 30 (July 1975): 739-54.
Smith, Fanny Morris. "The Record of Woman in Music." Etude 19 (September 1901): 317.
Solie, Ruth A. "What Do Feminists Want? A Reply to Pieter van den Toorn." Journal of Musicology (Fall 1991): 399-410.
Steblin, Rita. "The Gender Stereotyping of Musical Instruments in the Western Tradition." Canadian University Music Review 16/1 (1995): 128-44.
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Eugene Gates holds a B.A. in music (Acadia University), an M.A. in music criticism (Mc Master University), and an Ed.D. in aesthetics of music (University of Toronto). He is a retired faculty member of the Royal Conservatory of Music in Toronto.
His articles on women composers and other musical subjects have appeared in the Journal of Aesthetic Education, Canadian Music Educator, Journal of the American Liszt Society, Tempo,
Music Educators Journal, Czech Music, Viva Voce, University of Toronto Quarterly, and Kapralova Society Journal.
Dr. Gates serves on the Board of the Kapralova Society, sits on the Society's Advisory Committee, and co-edits the Kapralova Society Journal.