Laurel Parsons, Ph.D., is a music theorist who has taught at the University of Victoria, University of British Columbia, Queen's University, and the University of Oregon. Her research interests include post-tonal music by Elisabeth Lutyens, Elizabeth Maconchy, and Danish electroacoustic composer Else-Marie Pade, representation of Inuit poetry in late 20th-century Canadian and British music, and post-secondary music pedagogy for students with learning differences. She has published articles on Lutyens's music in Theory & Practice and Canadian University Music Review, and on aural skills pedagogy for students with dyslexia in Music Theory Online. In addition, she has contributed chapters to Arctic Discourses (Cambridge Scholars Press, 2010) and British Modernism and Music 1895-1960 (Ashgate, 2010). From 2012 to 2015, she chaired the Society for Music Theory's Committee on the Status of Women.

Brenda Ravenscroft, Ph.D., is Associate Professor of Music Theory and Associate Dean of Teaching and

Learning in the Faculty of Arts and Science at Queen's University. Her research focuses on post-tonal American music, text and music, rhythmic organization, the music of South African composer Priaulx Rainier, and pedagogy in higher education. In addition to articles on music by Elliott Carter, John Cage and Lou Harrison in such journals as Music Analysis, Perspectives of New Music, and Music Theory Spectrum, she has contributed a chapter on Carter's vocal music to Elliott Carter Studies (Cambridge University Press, 2012) and authored the "Case Study on Music Analysis" in The Flipped College Classroom (Springer, 2015). She chaired the Society for Music Theory's Committee on the Status of Women from 2006 to 2009.

• Acknowledgments


• About the Companion Website


• Chapter 1. Introduction: "Half of Humanity has Something to Say, Also"


• Laurel Parsons and Brenda Ravenscroft


• PART I: EARLY MUSIC FOR VOICE


• Chapter 2. Hildegard of Bingen, O ierusalem aurea civitas (ca. 1150-70)


• Varied Repetition in Hildegard's Sequence for St. Rupert: O ierusalem aurea civitas


• Jennifer Bain


• Chapter 3. Maddalena Casulana, "Per lei pos' in oblio" from Cinta di fior (1570)


• Finding the "Air" in Maddalena Casulana's Madrigals


• Peter Schubert


• Chapter 4. Barbara Strozzi, Appresso ai molli argenti (1659)


• Consolation Amid Barbarous Misfortune: Barbara Strozzi's Appresso ai molli argenti and the Mid-Seventeenth-Century Lament


• Richard Kolb and Barbara Swanson


• PART II: SEVENTEENTH- AND EIGHTEENTH-CENTURY KEYBOARD MUSIC


• Chapter 5. Élisabeth Jacquet de La Guerre, Sarabandes from the Suites in A minor (1687) and D minor (1707)


• In the Realm of All the Senses: Two Sarabandes by Élisabeth Jacquet de La Guerre


• Susan McClary


• Chapter 6. Marianna Martines, Sonata in A major, I (1765)


• "Zierlichkeit und Genie": Grace and Genius in Marianna Martines's Sonata in A major


• L. Poundie Burstein


• PART III: NINETEENTH-CENTURY LIEDER AND PIANO MUSIC


• Chapter 7. Fanny Hensel, "Von dir, mein Lieb, ich scheiden muss" (1841) and "Ich kann wohl manchmal singen" (1846)


• Fanny Hensel's Schematic Fantasies; Or, The Art of Beginning


• Stephen Rodgers


• Chapter 8. Josephine Lang, "An einer Quelle" (1840/1853) and "Am Morgen" (1840)


• Josephine Lang's Multiple Settings of Poems by Christian Reinhold Köstlin


• Harald Krebs


• Chapter 9. Clara Schumann, "Liebst du um Schönheit" (1841)


• Multiply-Interrupted Structure in Clara Schumann's "Liebst du um Schönheit"


• Michael Baker


• Chapter 10. Amy Beach, "Phantoms," op. 15, no. 2 (1892)


• Gapped Lines and Ghostly Flowers in Amy Beach's "Phantoms," op. 15, no. 2


• Edward D. Latham


• Glossary


• Bibliography


• Index