| |
| |
| Introduction | |
| |
| |
| Introduction to the 1995 Edition | |
| |
| |
| |
| Women as Singers in Christian Antiquity | |
| |
| |
| |
| Music in an Early Community of Women | |
| |
| |
| |
| Life at a Twelfth-Century Benedictine Convent | |
| |
| |
| |
| Hildegard of Bingen: Abbess and Composer | |
| |
| |
| |
| Three Women Troubadours | |
| |
| |
| |
| Women Among the Minstrels and as Amateur Musicians | |
| |
| |
| |
| The Renaissance Lady | |
| |
| |
| |
| Vocal and Instrumental Music Performance at an Italian Convent | |
| |
| |
| |
| The Rise of Women as Virtuoso Singers | |
| |
| |
| |
| Francesca Caccini: Singer-Composer | |
| |
| |
| |
| Elisabeth-Claude Jacquet de la Guerre: Composer and Harpsichordist | |
| |
| |
| |
| The Venetian Conservatories | |
| |
| |
| |
| Music as an Accomplishment | |
| |
| |
| |
| Marianne von Martinez: Composer and Singer | |
| |
| |
| |
| Maria Theresia von Paradis: Pianist on Tour | |
| |
| |
| |
| Corona Schroter and Julie Candeille: Two Composers Speak Out | |
| |
| |
| |
| Clara Schumann: Pianist | |
| |
| |
| |
| Amy Fay: Pianist | |
| |
| |
| |
| Lillian Nordica: Operatic Soprano | |
| |
| |
| |
| Margaret Blake-Alverson: Contralto | |
| |
| |
| |
| Sissieretta Jones: Soprano | |
| |
| |
| |
| Fanny Mendelssohn Hensel | |
| |
| |
| |
| Clara Schumann | |
| |
| |
| |
| Ethel Smyth | |
| |
| |
| |
| Luise Adolpha Le Beau | |
| |
| |
| |
| Cosima Wagner | |
| |
| |
| |
| The Female Amateur: From Accomplishment to Achievement | |
| |
| |
| |
| Women as Teachers | |
| |
| |
| |
| Women as Patrons in the Club Movement | |
| |
| |
| |
| The Vienna Damen Orchester in New York, 1871 | |
| |
| |
| |
| Caroline B. Nichols and the Boston Fadette Lady Orchestra | |
| |
| |
| |
| Camilla Urso on Professional Equity for Women Violinists, 1893 | |
| |
| |
| |
| Should Women Perform in the Same Orchestra with Men? | |
| |
| |
| |
| George Upton: A Classic Formulation of Women's Inferiority | |
| |
| |
| |
| Helen J. Clarke: Regarding Unequal Education in the Past | |
| |
| |
| |
| Frederick Meadows-White: Regarding the "Great Composer" Aspect of the Question | |
| |
| |
| |
| Amy Fay: Women Have Too Well Aided Men | |
| |
| |
| |
| Mabel Daniels: Fighting Generalizations About Women | |
| |
| |
| |
| A Corollary to the Question: Sexual Aesthetics in Music Criticism | |
| |
| |
| |
| Elizabeth Sprague Coolidge: Patron of Chamber Music | |
| |
| |
| |
| Nadia Boulanger: Teacher of Composers | |
| |
| |
| |
| Women's Symphony Orchestras | |
| |
| |
| |
| American Women Demand "Mixed" Orchestras | |
| |
| |
| |
| Three Musicians Recall Their Careers: Antonia Brico Frederique Petrides, and Jeannette Scheerer | |
| |
| |
| |
| Marian Anderson: Contralto | |
| |
| |
| |
| Ethel Smyth: "Female Pipings in Eden" | |
| |
| |
| |
| Carl E. Seashore: "Why No Great Women Composers?" | |
| |
| |
| |
| Ruth Crawford-Seeger | |
| |
| |
| |
| Elisabeth Lutyens | |
| |
| |
| |
| Nancy Van de Vate | |
| |
| |
| |
| The Women's Philharmonic | |
| |
| |
| |
| Joan Tower: Composer | |
| |
| |
| |
| Marcia J. Citron: Musicologist | |
| |
| |
| Select Bibliography | |
| |
| |
| Index | |