Week 1
Week 1.1, Introduction: Women in Music History | Historiographic Assumptions
Week 1.2, Paris in the Early Twentieth Century
Cecile Chaminade (1857–1944), Concertstück for piano and orchestra (1902)
Lili Boulanger (1893–1918), Clairières dans le ciel/Clearings in the Sky (Sing Cycle), “Demain fera un an”/”It will be a year tomorrow” (1913–15)
Germaine Tailleferre (1892–1983), Sonata for Violin and Piano (1923), I. Moderne sans lenteur
WEEK 2
Week 2.1, Breakout Groups for Assignment 1
Week 2.2, The English Musical Renaissance and Beyond
Ethyl Smyth (1858–1944), Overture to The Wreckers (1906)
Elizabeth Maconchy (1907–1994), Ophelia’s Song (1983)
Elisabeth Lutyens (1906–1983), Verses of Love (1970)
WEEK 3
Week 3.1, Trans-Atlantic Modernism
Amy Beach (1867–1944), Gaelic Symphony (1896), I, Allegro con fuoco
Ina Boyle (1889–1967), Elegy (1913)
Rebecca Clarke (1886–1979), Piano Trio (1921), III. Allegro vigoroso
Week 3.2, The Blues in the USA
Bessie Smith (1894–1937), Back Water Blues (1927)
Gertrude “ma” Rainey, (1886–1939) “Blame it on the Blues” (1928/29)
Billie Holiday (1915–1959), “Strange Fruit” (1939)
WEEK 4
Week 4.1, American Musical Modernism
Marion Bauer, Sonata for Viola (or Clarinet), II. Andante Expressivo, (1932)
Miriam Gideon, The Hound of Heaven (1945)
Ruth Crawford Seeger, String Quartet (1931), IV. Finale
Week 4.2, On Silence
On silencing, censorship, and movements to ban music
No listening repertoire for this class
Week 5
Week 5.1, Breakout Groups for Assignment 2
Week 5.2, Music and the Cold War
Vivian Fine (1913–2000), “Dance of the Triumph” from Alcestis (1960)
Sofia Gubaidulina (1931–), Rejoice! Sonata for Violin and Violoncello: “Listen to the small voice within” (1981)
Grazyna Bacewicz (1909–1969), Sonata No. 2 for Piano (1952/53)
Galina Ustvolskaya (1919–2006), Composition II: Dies Irae (1972/73)
Week 6
Week 6.1, Music of the Chicago Black Renaissance
Margaret Bonds (1913–1972), “Dream Variation,” in Three Dream Portraits (1959)
Florence Price (1888–1953), “Song to the Dark Virgin,” Five Folk Songs in Counterpoint (1951)
Florence Price (1888–1953), Symphony or Concerto TBC
Week 6.2, Experimental Music After 1989
Meredith Monk. (1942–), “Airport,” excerpt from the opera Atlas (1991)
Joan Tower (1938–), Night Fields (1994)
Laurie Anderson (1947–), Stories from the Nerve Bible (1995)
Week 7
Week 7.1, Late Twentieth-Century | Neo-Romanticism and Spectralism
Ellen Taaffe Zwilich (1939–), Symphony No. 1/I (1992)
Jennifer Higdon (1962–), Blue Cathedral (1999)
Kaija Saariaho (1952–), L’amour de loin (2000)
Week 7.2, The Voice in the 21st Century
Pamela Z (1956–), Excerpts from Voci (2009)
Missy Mazzoli (1980–), Vesper Sparrow (2012)
Unsuk Chin (1961–), Le Silence des Sirènes (2014)
Week 8
Week 8.1, Breakout Groups for Assignment 3
Week 8.2, Challenging the Canon
Pauline Oliveros (1932–2016), Bye Bye Butterfly (1965)
Tori Amos (1963–), Night of Hunters (2011)
Week 9
Week 9.1, MEMORIAL DAY: NO CLASS
Week 9.2, Tradition and Modernity in Contemporary Latin American Music
Tania Leon (1943–), Indigena (1991)
Gabriela Ortiz (1964–), Altar de Muertos (String Quartet, 1997)
Week 10
Week 10.1, Music and Landscape
Linda Buckley (1979–), Ó íochtar mara (2015)
Helen Grime (1981–), Two Eardley Pictures (2016)
Week 10.2, Music and Migration
Rhiannon Giddens (1977–), There is No Other (2019)
Julia Wolfe (1958–), Fire in My Mouth (2019)