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.
By far the largest online source of music for performers is IMSLP.org, with nearly 800,000 scanned scores. 14 stellar performances demonstrate the range of their holdings.
In the years before and after 1900, many women composers obscured their gender by replacing their names with their initials. Here is a look at six of them.
Creating music for Christmas creates particular challenges for composers – male or female. Here are twelve works by eleven women from five different countries.
A recent recording of two unpublished songs by Amanda Ira Aldridge spur this essay on two songs Aldridge wrote with Marian Anderson’s voice in mind.
Kitty Cheatham – singer, actress, daughter of slave-owners – was committed to preserving Negro spirituals, even as her performances swore allegiance to the Lost Cause of the antebellum South.
Before and after 1900 many women songwriters published their songs with male pseudonyms. Three of the most successful share an unexpected biographical trait.
Two-and-a-half years ago I launched a website devoted to marginalized song composers. In this post, I reflect on where it all began.
A century ago, Christina Georgina Rossetti was the woman poet that women composers set most frequently. Her popularity endures, spanning the globe, as this international playlist demonstrates.
Soprano and poet Janani Sridhar discusses the song cycle ‘SingBites’ that she and composer Nicholas Ho wrote as a set of four love songs to Singapore.
While the phenomenon of women publishing as men is well known, a century ago there were also men who published as women. Here are four of them.
