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.     Download PDF

“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.

“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. 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.

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 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.


Jean-Philippe 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.  xxix, 161 p. 

         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. Ann Arbor: University Microfilms, 1974.

          The volume is out of print. A .pdf is available (free) upon request.


III. Twentieth and Twenty-First Centuries 

Ruth Shaw Wylie

Ruth Shaw Wylie: The Composer and Her Music. Minneapolis MN: Mill City Press, 2012. 

Article “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), 

          http://www.cdbaby.com/cd/ruthshawwylie.


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. https://rowman.com/ISBN/9780810877429.


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

 • “A Musical Vision of Australia” (Peter Sculthorpe’s Quiros). Antipodes: A North 

          American Journal of Australian Literature 12, no. 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, no. 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, 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.)

    - Parts of the book, updated in 2008, are at the official PG-H Web site

Articles

“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.” Journal of the IAWM 

          18, no. 1 (2012): 44–45.

 Liner notes for compact disc Peggy Glanville-Hicks: ‘Sappho’ (London: Toccata Classics 

          TOCC0154-5 (2012).

 “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.

“Glanville-Hicks's Nausicaa, Graves, and Reid.” Focus on Robert Graves and His 

          Contemporaries 1, no. 9 (May 1989), 11–14.


IV. Twentieth century, General

“The American Wave of the 1930s and 1940s.” American Music Research Center Journal

          (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

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 Peggy Glanville-Hicks, Concertino da camera, on CD Red Earth. Tall Poppies TPI 

          133 (2004). In Journal of the IAWM 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.

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 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.

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.

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.

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.

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 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.

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.