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.
Women’s covers of Rolling Stones’ songs demonstrate the practice of singers covering a previous cover rather than the original version of a song.
Translations and cover songs raise many of the same questions. This post (and playlist) looks at how young women transformed Beatles songs on their debut albums.
Now largely forgotten, Madame Charles Cahier was one of the most famous interpreters of Mahler’s vocal music. She, and the few recordings she made, deserve our attention.
By 1913 the “indecency” of modern popular songs could no longer be ignored. Members of the National Federation of Music Clubs tried to fight back.
Candace Bailey pursues the determination of Harriett Abrams to be recognized for her songs from 1803, and especially in numerous publications of those songs.
Coming next fall! PlanetWoman, an innovative program of world premieres by women composers setting poems by women. Zsuzsanna Ardó found her inspiration in writings of Hildegard of Bingen.
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.
