Through musical analysis of compositions written between the mid-twelfth to late nineteenth centuries, this volume celebrates the achievements of eight composers, all women: Hildegard of Bingen, Maddalena Casulana, Barbara Strozzi, Élisabeth Jacquet de la Guerre, Marianne Martines, Josephine Lang, Fanny Hensel, Clara Schumann, and Amy Beach. Written by outstanding music theorists and musicologists, the essays provide fascinating in-depth critical-analytic explorations of representative compositions, often linking analytical observations with questions of meaning and sociohistorical context. Each essay is introduced by a brief biographical sketch of the composer by the editors.

The collection - Volume 1 in an unprecedented four-volume series of analytical studies on music by women composers - is designed to challenge and stimulate a wide range of readers. For academics, these thoughtful analytical essays can open new paths into unexplored research areas in the fields of music theory and musicology. Post-secondary instructors may be inspired by the insights offered in these essays to include new works in music theory and history courses at both graduate and upper-level undergraduate levels, or in courses on women and music. Finally, for soloists, ensembles, conductors, and music broadcasters, these detailed analyses can offer enriched understandings of this repertoire and suggest fresh, new programming possibilities to share with listeners.

Laurel Parsons' profile page

Brenda Ravenscroft's profile page

Laurel Parsons has taught music theory and aural skills at the University of British Columbia, the University of Victoria, Queen's University, and the University of Oregon. Her research interests include aural skills pedagogy and learning differences, and the music of Elisabeth Lutyens. From 2012-15 she chaired the Society for Music Theory's Committee on the Status of Women.

Brenda Ravenscroft is Professor of Music Theory and Dean of the Schulich School of Music at McGill University. Her research focuses on post-tonal American music, text and music, rhythmic organization, and pedagogy. She chaired the Society for Music Theory's Committee on the Status of Women from 2006 to 2009.

"Important reading for performers and scholars, this rich and revelatory collection of essays expertly demonstrates the inventive depths and compelling skills of historical composers who were women."

--Dr. Sophie Fuller, Trinity Laban Conservatoire of Music and Dance (London)

"This new volume of analytical essays edited by Parsons and Ravenscroft is valuable, timely, and impressive. Nine leading scholars provide incisive chapters on music from the 12th to the 19th centuries, revealing deep sensitivity to music and text, masterful counterpoint, compelling narrative, virtuosic metric shifts, Schenkerian poetics, and imaginative genius. I recommend it for undergraduate and graduate courses in music analysis, and as a model and inspiration for further research."

--Yonatan Malin, Associate Professor of Music, University of Colorado Boulder

"Studies of the extraordinary music by extraordinary women down the ages have been, happily, multiplying of late, but this volume is particularly welcome in its analytical focus. The slate of scholars is stellar, and so is the music we come to know better with such excellent guides, whose approaches are as various as the music they consider. And brava to the editors and writers alike for recognizing both that profundity can come in small packages and that women can create the most imposing large works as well. It is good to discover that the "testosterone brigade" had formidable female challengers all along."

--Susan Youens, University of Notre Dame