In Her Own Words: Conversations with Composers in the United States

Acknowledgments

Acknowledgments This book was possible because of the creative and generous women contained in its pages. These twenty-five composers were gracious with their time; they have a sincere respect for their craft and a desire to share their art with others. I am grateful for their trust and their valuable time. Special thanks to Libby Larsen, the first woman composer whose work I ever performed. Her music eventually led to my dissertation on her Love Songs: Five Songs on Texts by Women Poets. My work with Libby taught me that composers are indeed generous, and much can be learned by going to the source. It has been my good fortune to have been taught by gifted and stimulating teachers: Susan McClary, who, through thoughtful and challenging questions, emphasized cultural connection and alternative perspective; Robert Winter, who stressed the benefits of being a studied, thinking performer; Donald Neuen, who taught the importance of honoring the score and the composer; and David Chase, in whose choir I was first introduced to music composed by women. I am also deeply indebted to the scholars of women in music who came before me. Their work was groundbreaking, and their representation of my own gender was inspiring. It is because of these women that I felt empowered and challenged to add to their body of work. Thanks are also due to Susan Frykberg, Robert Winter, and Irene Harwood for their encouragement of this project when it was still just an idea, and I thank Janet Whittington and Hilary Tann for their continued encouragement. Special thanks to three fabulous young women and scholars—Caitlin Flood, Shannon Moran, and Jackie Macri—who helped in the preliminary stages with obtaining background information, transcribing interviews, gathering works lists when many of these composers did not yet have published or contemporary repertoire lists assembled, and offering feedback from the perspective of young viii . acknowledgments women in the twenty-first century. I am also grateful for my colleagues and friends: Rosie Bukics, Jorge Torres, Skip Wilkins, Tony Cummings, and Mary Kresna Yasa, who read some of the chapters in their preliminary stages and offered valuable criticism. Sincere thanks to Beth Seetch and Janet Whittington, whose editorial eyes and significant feedback made this book possible. I am tremendously grateful to the University of Illinois Press and Laurie Matheson , editor-in-chief. Laurie’s guidance throughout the process was sincere and invaluable. Additionally, Jane Bowers and Judith Tick’s book, Women Making Music: The Western Art Tradition, 1150–1950, had a significant impact on my life as a young woman, and I feel proud that my first book is published by the same press. Finally, Michele Edwards and the other anonymous readers of drafts were challenging and meticulous, and I will be ever grateful for their input. This book would not have been possible without the generosity of Lafayette College and their support of this project through the Richard King Mellon Foundation Summer Research Fellowship Grant. Special thanks to the head of the music department, Larry Stockton, for his respect and his constant encouragement of my work. Above all, I give my highest appreciation and respect to Greg Eicher. His unending support, numerous readings of drafts, honest criticism, and understanding of late nights, travel, and my need for intense focus throughout this project is more appreciated than words can express. He never questioned the work even when I wondered what was possible. This book exists, in part, because of Greg. ...