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.
A century ago women composers in German-speaking countries often followed their male colleagues in preferring to set poems by men. But a few had other ideas.
When Italian singer Beniamino Gigli made his farewell tour of America in 1955, some three thousand people packed Carnegie Hall to hear his recitals. On
Lisa Colton recounts the thrill of discovering the autograph manuscript of Edith Smyth’s ‘Mass in D.’
A conversation with Zsuzsanna Ardó and her creative collaborators about the progress of PlanetWoman, the international choral project connecting composers and choirs across the globe.
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A recent recording of two unpublished songs by Amanda Ira Aldridge spur this essay on two songs Aldridge wrote with Marian Anderson’s voice in mind.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.
