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Published online by Cambridge University Press: 10 July 2018
1 See Frog Peak Music (a composters’ collective): Johanna Magdalena Beyer, http://www.frogpeak.org/fpartists/fpbeyer.html
2 Johanna Beyer: Sticky Melodies, Astra Chamber Music Society, directed by John McCaughey, New World Records 80678-2, 2008.
3 Tick, Judith, Ruth Crawford Seeger: A Composer's Search for American Music (New York: Oxford University Press, 1997)Google Scholar.
4 de Graaf, Melissa J., “Documenting Music in the New Deal: The New York Composers’ Forum Concerts, 1935–1940,” PhD diss., Brandeis University, 2005Google Scholar; “‘Never Call Us Lady Composers’: Gendered Receptions in the New York Composers’ Forum, 1935–1940,” American Music 26 no. 3 (2008): 277–308Google Scholar; The New York Composers’ Forum Concerts, 1935–1940 (Rochester, NY: University of Rochester Press, 2013)Google Scholar.
5 Boland, Marguerite, “Experimentation and Process in the Music of Johanna Beyer,” VivaVoce: Journal of the Internationaler Arbeitskreis Frau und Musik 86 (2007), unpaginatedGoogle Scholar.
6 Lumsden, Rachel, “Beyond Modernism's Edge: Johanna Beyer's String Quartet No. 2 and Vivian Fine's The Race of Life,” PhD diss., City University of New York, 2012)Google Scholar. See also Lumsden, Rachel, “‘The Pulse of Life Today’: Borrowing in Johanna Beyer's String Quartet No. 2” American Music 35 no. 3 (Fall 2017)Google Scholar.