Intimacy, Performance, and the Lied in the Early Nineteenth Century. By Jennifer Ronyak

“Let’s Listen with Our Eyes ...” The Deconstruction of Deafness in Christine Sun Kim’s Sound Art

“…The vast underrepresentation of women is conspicuous in mainstream music history reference volumes regularly used in music education throughout the world today, all of which are continuously republished and reissued, such as Norton's History of Western Music, The Grove Dictionary of Music and Musicians and the Oxford History of Western Music. 1 Within these standard works, not only compositions by women but also their varied spheres of activity including salon culture and other, pre-institutional music production and non-professional composition and publication (Parton 2019;Bartsch 2007;Vezeau 2005) are still largely neglected. The aforementioned dictionaries of female composers (Tsou et al 1996) are still separated from the main volumes, 1 Oxford, arguably the most inclusive, includes comparatively brief paragraphs on primarily three female composers, Clara Schumann, Lili Boulanger and Ruth Crawford Seeger in the Early 20th Century volume.…”