Updated 11/10/08
PUBLICATIONS BY
Deborah Hayes
including
18th-century Women Composers
Francesca LeBrun
Marie-Emmanuelle Bayon Louis
Peter Sculthorpe
Peggy Glanville-Hicks
Ruth Shaw Wylie
20th-century Women and Music
Reviews
On 18th-century music and musicians
Women Composers
“A Drawing-Room Concert in Georgian England.” Early Music Colorado Quarterly 9/1 (2000), 4-6. Click here for Quarterly archives and then on Summer 2008, vol. IX no. 1
“Sounds from Silence: New Research in Eighteenth-Century Classic Music.” In Report of Proceedings: Ph.D. in Music Symposium April 5-7, 1985 (Boulder, CO, 1988), 119-21.
“Some Neglected Women Composers of the Eighteenth Century and Their Music.” Current Musicology 39 (1985), 42-65.
“Classicism à la mode: Late-Eighteenth-Century Women Composers and Their Music.” American Women Composers News/Forum 6, no. 1-2 (February-May 1983), 14-17.
Francesca LeBrun - Editions
Francesca LeBrun: Six Sonatas for the Piano Forte or Harpsichord with an Accompaniment for a Violin, op. 2. Edited by Deborah Hayes. Fayetteville, AR: ClarNan Editions, 2003.
Keyboard Sonatas, ed. with introduction by Deborah Hayes. Facsimile edition of Marie-Emmanuelle Bayon (1746-1825), Six sonates, op. 1, and Francesca LeBrun (1756-1791), Six Sonatas. New York: Da Capo Press, 1990.
Marie-Emmanuelle Bayon Louis - Articles and Editions
“Marie-Emmanuelle Bayon Louis,” in The New Grove Dictionary of Music and Musicians, 2nd ed., edited by Stanley Sadie. London: Macmillan; New York: Grove, 2001.
“Marie-Emmanuelle Bayon.” New Grove Dictionary of Women Composers and Norton/Grove Dictionary of Women Composers, ed. by Julie Anne Sadie and Rhian Samiel. London: Macmillan, 1994; New York: W.W. Norton, 1995.
“Marie-Emmanuelle Bayon, later Madame Louis, and Music in Late Eighteenth-Century France.” College Music Symposium 30, no. 1 (Spring 1990), 14-33.
“Marie-Emmanuelle Bayon Louis: Fleur d’épine (‘Mayflower’), opéra-comique; excerpts from full score, 1776 — five ariettes (arias and duet),” edited, with introduction, by Deborah Hayes. In Women Composers: Music Through the Ages, vol. 4, pp. 93-154.
Introduction to “Marie-Emmanuelle Bayon Louis: Fleur d’épine (‘Mayflower’), opéra-comique (1776)—Overture,” edited by Deborah Hayes. In ibid., vol. 5, pp. 69-87.
Keyboard Sonatas, ed. with introduction by Deborah Hayes. Facsimile edition of Marie-Emmanuelle Bayon (1746-1825), Six sonates, op. 1, and Francesca LeBrun (1756-1791), Six Sonatas. New York: Da Capo Press, 1990.
Cecilia Maria Barthelemon - Edition
“Cecilia Maria Barthélemon: The Capture of the Cape of Good Hope for the Piano Forte or Harpsichord, Concluding with a Song and Chorus (1795),” edited, with introduction, by Deborah Hayes. In Women Composers: Music Through the Ages, vol. 3, pp. 213-232.
Maria Barthélemon
“Maria Barthélémon: Sonata for the Harpsichord or Piano-Forte with an Accompanyment for A Violin, op. 1, no. 3, in C Major (1776),” edited, with introduction, by Deborah Hayes. In Women Composers: Music Through the Ages, vol. 5, pp. 54-68.
Maria Hester (Reynolds) Park
“M. H. Park: A Divertimento for the Piano Forte [with Violin Accompaniment] (1811),” edited, with introduction, by Deborah Hayes. In ibid., vol. 5, pp. 108-121.
Jane Savage - Edition
“Jane Savage: Six Rondos for the Harpsichord or Piano Forte, Opera 3 (ca. 1783)—no. 1 in G Major, Grazioso; no. 3 in C Major, Andantino; no. 5 in F Major, Amoroso,” edited, with introduction, by Deborah Hayes. In Women Composers: Music Through the Ages, vol. 3, pp. 127-141.
Anne Valentine - Edition
“Ann Valentine: Monny Musk arranged as a Rondo for the Piano-Forte (1798),” edited, with introduction, by Deborah Hayes. In Women Composers: Music Through the Ages, edited by Sylvia Glickman and Martha Schleifer (12 vols; New York: G. K. Hall/Macmillan, 1995- ), vol. 3, pp. 148-156.
Sonata
“Sonata, General.” In Reader’s Guide to Music: History, Theory, Criticism, edited by Murray Steib. Chicago and London: Fitzroy Dearborn, 1999: 679-80.
Rameau
“Rameau’s ‘Nouvelle méthode’.” Journal of the American Musicological Society 27 (1974): 61-74.
Harmonic Generation by Jean-Philippe Rameau (Paris 1737), translated with introduction, notes and index by D. Hayes. Ann Arbor: University Microfilms, 1974. (Publication no. LD00024.) xxix, 161 p.
Dissertation on the Different Methods of Accompaniment . . . with a Plan for a New Method by Jean-Philippe Rameau (Paris, 1732), translated with introduction, notes and index by D. Hayes. Ann Arbor: University Microfilms, 1974. (Publication no. LD00033.)
On 20th-century music and musicians
Women and Music
“Bifocal History”; “Canon”; “Chilly Climate”; “Compensatory History”; “Constructivism”; “Discrimination”; “Equality”; “Exceptional Woman”; “Feminist Music Criticism”; “Feminist Music History”; “Gender Coding”; “Gender Issues”; “Peggy Glanville-Hicks”; “Historiography”; “Multifocal History"; "Pseudonyms"; "Womyn’s Music” (18 entries). Also co-author (with Carolyn Bremer) of two entries: “Aptitude” and “Female Inferiority, Theories of.” In Women and Music in America Since 1900: An Encyclopedia, edited by Kristine H. Burns. 2 vols. Westport, CT: Greenwood Press, 2002. D. Hayes, associate editor.
Peter Sculthorpe - Book
Peter Sculthorpe: A Bio-Bibliography. (Bio-bibliographies in Music, no. 50.) Westport, CT: Greenwood Press, 1993. 328 pp.
Peter Sculthorpe - Articles
“A Musical Vision of Australia” (Peter Sculthorpe’s Quiros). Antipodes: A North American Journal of Australian Literature 12/2 (December 1998), 73-80.
Review of Peter Sculthorpe, Sun Music: Journeys and Reflections from a Composer's Life (Sydney: ABC Books, 1999), in Antipodes, A North American Journal of Australian Studies 16/1 (June 2002), 94-95.
Review of Peter Sculthorpe, Kakadu for orchestra (1988), score (London: Faber Music, 1992), in Notes: Quarterly Journal of the Music Library Association 52/3 (March 1996), 1029-30.
Peggy Glanville-Hicks - Book
Peggy Glanville-Hicks: A Bio-Bibliography. (Bio-bibliographies in Music, no. 27.) Westport, CT: Greenwood Press, 1990. (x, 274 p.)
- Material from the Bio-Bibliography, updated in 2008, are at the official PG-H Web site
Peggy Glanville-Hicks - Articles
“Peggy Glanville-Hicks,” in The New Grove Dictionary of Music and Musicians, 2nd ed., edited by Stanley Sadie. London: Macmillan; New York: Grove, 2001.
“ ‘A Poem By a Woman’s Hand’: The Greek Operas of Peggy Glanville-Hicks.” In Musics and Feminisms, edited by Sally Macarthur and Cate Poynton. Sydney: Australian Music Centre, 1999, 57-62, 171-74.
“New World Inspiration and Glanville-Hicks’s Opera Nausicaa (1961).” In Vistas of American Music: Essays and Compositions in Honor of William K. Kearns, edited by Susan L. Porter and John Graziano. Detroit Monographs in Musicology/Studies in Music, No. 25. Warren MI: Harmonie Park Press, 1999, p.353-64 (chap. 27).
“American Sources in Australia: The Peggy Glanville-Hicks Papers.” The Sonneck Society for American Music Bulletin 24/3 (Fall 1998), 72, 77.
“ ‘A Poem By a Woman’s Hand’: The Greek Operas of Peggy Glanville-Hicks” [abridged version]. Sounds Australian, Journal of the Australian Music Centre, No. 51 (1998), 10.
“Peggy Glanville-Hicks (1912-1990), International Composer.” ILWC Journal (published by the International League of Women Composers), September 1991, p. 12-13.
“Peggy Glanville-Hicks: A Voice from the Inner World.” Chapter 8 of The Musical Woman, An International Perspective, Vol. III, 1986-1990, ed. by Judith L. Zaimont, et al. Westport, CT: Greenwood Press, 1991. P. 371-409.
Review of PG-H, Etruscan Concerto for piano and chamber orchestra, score (New York: C. F. Peters, 1985) in Notes: Quarterly Journal of the Music Library Association 47/2 (December 1990): 558-559.
“Glanville-Hicks's Nausicaa, Graves, and Reid.” Focus on Robert Graves and His Contemporaries 1, no. 9 (May 1989), 11-14.
20th century, General
“The American Wave of the 1930s and 1940s.” American Music Research Center Journal 1 (1991), 52-54.
“Australia.” In Reader’s Guide to Music: History, Theory, Criticism, edited by Murray Steib. Chicago and London: Fitzroy Dearborn, 1999: 30-31.
Reviews
Review of Liane Curtis, A Rebecca Clarke Reader, edited by Liane Curtis (Waltham, MA: Rebecca Clarke Society, 2005). In IAWM Journal (International Alliance for Women in Music) 12/1 (2006), 33-35.
Review of Peggy Glanville-Hicks, Concertino da camera, on CD Red Earth. Tall Poppies TPI 133 (2004). In IAWM Journal 11/2 (2005), 42.
Review of James Murdoch, Peggy Glanville-Hicks: A Transposed Life (Hillsdale, NY: Pendragon Press, 2002). In IAWM Journal 10/2 (2004), 34.
Review of CD All Quiet on the Western Front by Nancy Van de Vate. Vienna Modern Masters VM 4004 (2002) In IAWM Journal 10/1 (2004), p. 43.
Review of CD Vivaldi & Friends: Concertos for Four Violins & Four Harpsichords, Electra ECCD 2059 (2001), in Early Music Colorado Quarterly 11/3 (March 2003), 7.
Review of Helen Walker-Hill, From Spirituals to Symphonies: African-American Women Composers and Their Music (Westport, CT: Greenwood Press, 2002), in Journal of the IAWM (International Alliance for Women in Music) 8/3 (2002), 49-50.
Review of Peter Sculthorpe, Sun Music: Journeys and Reflections from a Composer's Life (Sydney: ABC Books, 1999), in Antipodes, A North American Journal of Australian Studies 16/1 (June 2002), 94-95.
Review of The Music of Margaret Sutherland by David Symons (Sydney: Currency Press, 1997). In Journal of the IAWM 6/3 (2000), 59-60.
Review of The Music of Margaret Sutherland by David Symons (Sydney: Currency Press, 1997). In Antipodes: A North American Journal of Australian Literature 13/2 (Dec 1999), 137-38.
Review of Constanze Mozart: After the Requiem by Heinz Gärtner, trans. Reinhard Pauly (Portland, OR: Amadeus Press, 1991) in The Eighteenth Century: A Current Bibliography, for 1991 (pub. 1998), IV: 200-201.
Review of Larry Sitsky: A Bio-Bibliography by Robyn Holmes, Patricia Shaw, and Peter Campbell (Bio-Bibliographies in Music, Number 65, Westport CT: Greenwood Press, 1997). In Context: A Journal of Music Research (Univ of Melbourne), Numbers 15 & 16 (1998): 116-18.
Review of Larry Sitsky: A Bio-Bibliography by Robyn Holmes, Patricia Shaw, and Peter Campbell (Bio-Bibliographies in Music, Number 65, Westport CT: Greenwood Press, 1997). In Antipodes 12/2 (December 1998), 132-33.
Review of Tania León: Journey for Soprano, Flute and Harp, on “Jubal Songs,” Composers Recordings Inc. CRI CD 738. IAWM Journal 4/3 (Fall 1998), 35.
Review of Sorrel Hays: Dreaming the World; Structure 123; Take a Back Country Road; Tunings, on “Dreaming the World,” New World Records CD 9322-80520-2. IAWM Journal 4/3 (Fall 1998), 35.
Review of Peter Sculthorpe, Kakadu for orchestra (1988), score (London: Faber Music, 1992), in Notes: Quarterly Journal of the Music Library Association 52/3 (March 1996), 1029-30.
“Discovering Our History: ClarNan Editions of Early Music.” ILWC Journal [International League of Women Composers] Feb 1995, 1-3.
“Women Composers, The ‘Condensed’ Version: A Review of The New Grove Dictionary of Women Composers,” ed. Julie Anne Sadie and Rhian Samuel (London: Macmillan Press, 1994); U.S. edition: The Norton/Grove Dictionary of Women Composers (New York, 1995). IAWM Journal [International Alliance for Women in Music] 1/1 (June 1995), 16-17.
Review of Women in Music: An Encyclopedic Biobibliography, 2nd ed., by Don L. Hixon and Don A. Hennessee (Metuchen, NJ: Scarecrow Press, 1993), 2 vols, in ILWC Journal, June 1994, p. 35.
Review of score of Etruscan Concerto for piano and chamber orchestra by Peggy Glanville-Hicks (New York: C. F. Peters, 1985) in Notes: Quarterly Journal of the Music Library Association 47/2 (December 1990): 558-559.
Review of French Musical Thought 1600-1800, ed. Georgia Cowart (Studies in Music, No. 105; Ann Arbor: UMI Research Press, 1989) in The Eighteenth Century: A Current Bibliography, n.s. 14, IV: 144-45.
Review of The Performing Arts at Fontainebleau from Louis XIV to Louis XVI by Paul F. Rice (Studies in Music, No. 102; Ann Arbor: UMI Research Press, 1989) in The Eighteenth Century: A Current Bibliography, n.s. 14, IV: 168.
Review of recording Althea Waites Performs the Piano Music of Florence Price, Cambria Records C1027 (1987) in Sonneck Society Bulletin 14/2 (Summer 1988): 111-12.
Review of The Musical Woman: An International Perspective, II (1984-1985), ed. J. L. Zaimont, et al. (New York, 1987), in Frontiers, A Journal of Women Studies 10/1 (1988): 90-1.
Review of The Bessie Smith Companion: A Critical and Detailed Appreciation of the Recordings by Edward Brooks (Wheathampstead, UK, and New York, 1982) in American Music 4 (1986), p. 114-15.
“Articles and Reviews 1985.” Sonneck Society Newsletter 12 (1986): 43-4 (Summer).
Review of American Women Composers Before 1870 by Judith Tick (Ann Arbor, 1983) in American Music 3 (1985): 478-9.
Review of The Origins of Modern Musical Criticism: French and Italian Music, 1600-1750 by Georgia Cowart (Studies in Musicology, 38; Ann Arbor, 1981) in The Eighteenth Century: A Current Bibliography, n.s. 7 (for 1981, published 1985), IV: 234.
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