There is no historical or geographical limit on what can be covered. There is no restriction on the style or genre of song or singing.
As the 25th anniversary of her husband’s death approached, Amy Beach composed two somber songs. Megan Lyons asks why Beach never published them.
On a lark, I asked my students to listen to a beautiful song by Caroline Shaw and, rather than write about it, draw a picture of it. The results astounded me.
Part II of a conversation with soprano Susan Narucki about her new album of art songs by early 20th-century women composers.
Carrie Jacobs-Bond’s song, “His Lullaby,” routinely moved entire audiences to tears, especially when sung by Ernestine Schumann-Heink. I offer some thoughts on why this happened.
A conversation with soprano Susan Narucki about her new album of art songs by early 20th-century women composers.
Ivana Lang’s Nokturno (Nocturne), one of the most beautiful of her many songs, spurs a look at her life and work.
As European art music began to be challenged by jazz, musically influential women devised ways to cultivate “a taste for ‘good’ music in children.”
In the Japanese-Chinese film Eternity (1943), Yoshiko Yamaguchi sang two songs that made her a star in China. But the film backfired.
Four exceptional women composers underwent mid-career conversions. Having favored male poets for the first decades of their careers, they began in their 40s to favor women poets.
In the decades before and after 1900, did it matter to women composers whether the poems they set were written by a man or a woman?
