Linda Perhacs’s 3D Sound Sculpture
Women’s singing, in extremis, has frequently been associated with the non-verbal. Linda Perhacs’s “Parallelograms” (1970) is an example that is grounded in words.
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 singing, in extremis, has frequently been associated with the non-verbal. Linda Perhacs’s “Parallelograms” (1970) is an example that is grounded in words.
Katherine Vaz extols the slow steady pulled-from-the-deep sounds of Amália Rodrigues, Césaria Évora and other fado singers.
A century ago, Mary Turner Salter’s cathartic song about the death of a child was sung by female singers nationwide. It spoke to women’s experiences.
As expressions of motherly love and the pain of mothers who lose their children crossing ethnic, national and religious boundaries, these songs remain universal.
This audio blog post discusses Julia Johnson Davis’s poem “To My Little Son” and Florence Price’s deeply personal musical setting of it.
John Michael Cooper celebrates the publication of Margaret Bonds’s settings of poems by Edna St. Vincent Millay
Although Emma Louise Ashford (1850-1930) is little known today, her music has been performed ever since it was published, in the U.S. and around the globe.
Rebecca Cypess connects the songs of Madame Brillon (1744–1824) to the ethereal timbre of her favorite instrument—her English square piano.
In the short space of seven songs, Hall transforms the private nature of Anne Frank’s diary into a searing disclosure.
Darryl Taylor remembers his first teacher as someone who made sure he knew that singing was more than sounding good.