DEBORAH HAYES
PUBLICATIONS
I. Music and Musicians of the Late Eighteenth Century
Overview; Bayon Louis; C.M. Barthélemon; M. Barthélemon;
LeBrun; Park; Parke; Savage; Valentine;
The Sonata
II. Early Eighteenth Century
Rosanna Scalfi Marcello
Jean-Philippe Rameau
III. Twentieth and Twenty-First Centuries
Ruth Shaw Wylie
Gabriela Lena Frank
Women and Music
Peggy Glanville-Hicks
Peter Sculthorpe
Twentieth Century, General
IV. Reviews
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I. Music and Musicians of the Eighteenth Century
Overview
“A Drawing-Room Concert in Georgian England.” Early Music Colorado Quarterly 9, no. 1
(2000), 4–6.
“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.”
AWC [American Women Composers, Inc.] News/Forum 6, no. 1–2 (February–May
1983), 14–17.
Marie-Emmanuelle Bayon Louis
“Marie-Emmanuelle Bayon Louis.” The New Grove Dictionary of Music and Musicians, 2nd
ed., edited by Stanley Sadie. London: Macmillan; New York: Grove, 2001. [online]
“Marie-Emmanuelle Bayon.” 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. Abstract (RILM)
“Marie-Emmanuelle Bayon Louis: Fleur d’épine (‘May-Flower’), 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, IV: 93–154.
Introduction to “Marie-Emmanuelle Bayon Louis: Fleur d’épine (‘May-Flower’), opéra-
comique (1776)—Overture,” edited by Deborah Hayes. In ibid., V: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, op. 1. New York: Da Capo Press, 1990.
Francesca LeBrun
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.
Sonatas, op. 1, listed above in Keyboard Sonatas. New York: Da Capo Press, 1990.
Cecilia Maria Barthélemon
“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, III:
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, V:
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., V: 108–121.
“Park, Maria Hester, geb. Reynolds.” In Die Musik in Geschichte und Gegenwart, allgemeine
Enzyklopädie der Musik. 2nd edition, edited by Ludwig Finscher. Kassel; New York:
Bärenreiter Stuttgart: Metzler, 1994–2008..
Maria F. Parke and family
“Parke / Familie: John (1), sein Bruder William Thomas (2); Johns Töchter Maria Frances
(3) und Francesca Margaretta.” In Die Musik in Geschichte und Gegenwart, allgemeine
Enzyklopädie der Musik. 2nd edition, edited by Ludwig Finscher. Kassel; New York:
Bärenreiter Stuttgart: Metzler, 1994–2008.
Jane Savage
“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,
III: 127–141.
Ann Valentine
“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– ), III: 148–156.
The Sonata
“Sonata, General.” In Reader’s Guide to Music: History, Theory, Criticism, edited by Murray
Steib. Chicago and London: Fitzroy Dearborn, 1999: 679–80.
II. Early Eighteenth Century
Rosanna Scalfi
Rosanna Scalfi Marcello: Twelve Cantatas for Alto Voice and Continuo (ca. 1730), edited by
Deborah Hayes and John Glenn Paton. Fayetteville, AR: ClarNan Editions, 2012.
Order from Classical Vocal Reprints.
Review of Rosanna Scalfi Marcello: Complete Solo Cantatas. Naxos 9.70246-47
(2015). IAWM Journal 22, no. 1 (Spring 2016): 32.
Jean-Philippe Rameau (1683–1764)
“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. The volume is out of print. A .pdf is
available (free) upon request.
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. The volume is out of print. A .pdf is available (free)
The original French editions of both, plus twelve other titles, can be downloaded in PDF at imslp.org.
III. Twentieth and Twenty-First Centuries
Ruth Shaw Wylie
Ruth Shaw Wylie: The Composer and Her Music. Minneapolis MN: Mill City Press, 2012.
“In Search of the White Raven: Ruth Shaw Wylie (1916–1989) and Her Music.”
Journal of the IAWM 18, no. 1: 20–24. Wylie18.pdf
Liner notes for compact disc and MP3 files Ruth Shaw Wylie: Chamber Music (2010).
Gabriela Lena Frank
“Gabriela Lena Frank.” Chapter 3 in Women of Influence in Contemporary Music: Nine
American Composers. Edited by Michael K. Slayton. Lanham: Scarecrow Press, 2011:
85–139.
“Gabriela Lena Frank: From Ivory Tower to Redwood Country.” Webpage, July 2021.
Women, Music, Gender
Entries 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:
“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.”
Peter Sculthorpe
Peter Sculthorpe: A Bio-Bibliography. (Bio-bibliographies in Music, no. 50.) Westport, CT:
Greenwood Press, 1993. (328 pp.)
Articles, Reviews
- “Visions of the Great South Land in Peter Sculthorpe’s opera Quiros.” Great South Land
in Peter Sculthorpe's Opera Quiros.” In The Soundscapes of Australia: Music, place and
spirituality. Edited by Fiona Richards. Aldershot: Ashgate, 2007: 147–64.
- Review of Graeme Skinner, Peter Sculthorpe: The Making of an Australian Composer
(Sydney: University of New South Wales Press, 2007), in Notes: Quarterly journal of
the Music Library Association 65, no. 3 (March 2009): 510–12.
- 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, no. 1 (June 2002): 94–95.
- “A Musical Vision of Australia” (Peter Sculthorpe’s opera Quiros). Antipodes: A North
American Journal of Australian Literature 12, no. 2 (December 1998): 73–80.
- Review of Peter Sculthorpe, Kakadu for orchestra (1988), score (London: Faber Music,
1992), in Notes: Quarterly Journal of the Music Library Association 52, no. 3 (March
1996): 1029–30.
Peggy Glanville-Hicks
Peggy Glanville-Hicks: A Bio-Bibliography. (Bio-bibliographies in Music, no. 27.) Westport,
CT: Greenwood Press, 1990. (x, 274 p.)
Articles and Reviews
Review of Suzanne Robinson, Peggy Glanville-Hicks, Composer and Critic (2019). in Notes:
Quarterly Journal of the Music Library Association 77, no. 2 (December 2020): 266–68.
“Nadia Boulanger, Peggy Glanville-Hicks, and American Music.” Journal of the American
Music Research Center 22 (2013): 59–71.
“Celebrating the Centenary of Peggy Glanville-Hicks 1912–1990.” IAWM Journal
18, no. 1 (2012): 44–45.
Liner notes for compact disc Peggy Glanville-Hicks: Sappho (London: Toccata Classics
TOCC0154-5 (2012).
Review of compact disc Peggy Glanville-Hicks: Etruscan Concerto; Sappho final scene;
Tragic Celebration; Letters from Morocco (ABC Classics 476 3222 [2009]). IAWM
Journal 15, no. 2 (Fall 2009): 39–40.
Review of Peggy Glanville-Hicks, Concertino da camera, on CD Red Earth. Tall Poppies TPI
133 (2004). IAWM Journal 11, no. 2 (2005): 42.
Review of James Murdoch, Peggy Glanville-Hicks: A Transposed Life (Hillsdale, NY:
Pendragon Press, 2002). In Journal of the IAWM 10, no. 2 (2004): 34.
“Peggy Glanville-Hicks,” in The New Grove Dictionary of Music and Musicians, 2nd ed.,
edited by Stanley Sadie. London: Macmillan; New York: Grove, 2001. [online]
“ ‘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).” Chapter 27 of
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: 353–64.
“American Sources in Australia: The Peggy Glanville-Hicks Papers.” The Sonneck
Society for American Music Bulletin 24, no. 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:
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: 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, no. 2
(December 1990): 558–559.
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, no. 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. Abstract (RILM)
IV. Twentieth 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.
V. Reviews not listed above
Review of “Forgotten Female Composers” BBC International Women’s Day Orchestral
Concert 8 March 2018. Published as blog by Women’s Philharmonic Advocacy,
January 2019.
Review of Analytical Essays on Music by Women Composers, Volume I:Sacred and Secular
Music to 1900, edited by Laurel Parsons and Brenda Ravenscroft (New York: Oxford
University Press, 2018), in Journal of the IAWM 25, no. 2 (Fall 2019): 26–27.
Review of Jewel A. Smith, Music, Women, and Pianos in Antebellum Bethlehem,
Pennsylvania: The Moravian Young Ladies’ Seminary (Bethlehem: Lehigh University,
2008), in Journal of the IAWM 14, no. 2 (Fall 2008), 37–38.
Review of Ellen K. Grolman, Joan Tower: The Comprehensive Bio-Bibliography (Lanham MD:
Scarecrow Press, 2007), in Journal of the IAWM 13, no. 2 (Fall 2007), 37–39.
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, no. 1 (2006): 33–35.
Review of CD All Quiet on the Western Front by Nancy Van de Vate. Vienna Modern
Masters VM 4004 (2002) In Journal of the IAWM 10, no. 1 (2004): 43.
Review of CD Vivaldi & Friends: Concertos for Four Violins & Four Harpsichords, Electra
ECCD 2059 (2001), in Early Music Colorado Quarterly 11, no. 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, no. 3 (2002): 49–50.
Review of The Music of Margaret Sutherland by David Symons (Sydney: Currency Press,
1997). In Journal of the IAWM 6, no. 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, no. 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, no. 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, no. 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. Journal
of the IAWM 4, no. 3 (Fall 1998): 35.
“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). Journal of the IAWM [International Alliance for Women in Music] 1, no.
1 (June 1995):16–17.
“Discovering Our History: ClarNan Editions of Early Music.” ILWC Journal [International
League of Women Composers] Feb 1995, 1–3. Abstract (RILM)
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: 35.
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, no. 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, no. 1
(1988): 90–91.
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): 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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