Music and the Skillful Listener: American Women Compose the Natural World

Index

383 acoustics, 104 Adams, John Luther, 334n36, 356n16 aesthetic value, of nature, 14, 73, 232 “Agnus Dei/Sanctus,” in Missa Gaia (Larsen), 259 Alcestiad, The (Talma), 70 Alien Bog (Oliveros), 111–113, 117–118, 127 “all spring” (Crossman), 298–299 all spring (Doolittle), 280, 297–306, 370nn61–62 Allen, Aaron, 326n11, 360n4, 361n29 Allen, Arthur, 335n47 Allen, Una L., 43 Amazon (Tower), 133, 142–148, 351n36 Ambient Air (Talma), 74 American Academy of Arts and Letters, 132, 178 American Academy of Arts and Sciences, 132, 178 American Association of University Women (AAUW), 317, 372n1 American Composers Forum, 242–243 American Forum, 320 American Music Guild, 26 American Musicological Society, Ecocriticism Study Group of, 6, 326n11 “And God Created Great Whales” (Hovhannes ), 307 And . . . They’re Off (Tower), 133 And Wolf Shall Inherit the Moon (Schafer), 279 Anderson, Lorraine, 19–21 Andriessen, Louis, 275, 293 animals, 16, 278, 282, 359n10; Doolittle studying songs of, 275–276, 293–294; human relationships with, 214, 240, 277 “Annunciation” (Talma), 70 “Arabesque” (Bauer), 53 “Arachne Gives Thanks to Athena” (Stallings), 265 art, 232; nature inspiring, 187–188; science and, 276–279 art music, 325nn8–9 Arthur P. Schmidt Company, 43, 55 “Ascension” (Talma), 70 Ash Wednesday (Eliot), 258, 365n37 Aspria, Marcello, 271 Aubade (Doolittle), 280 audience: Larsen’s goals for, 267, 269–271, 273; participating in Reeds performance , 314; relation to composer, 114–115 Austro-German music-nature tradition, 237 awards/prizes: Talma’s, 70; Tower’s, 131–132; Zwilich’s, 178 baby boomer generation, 207 Baermann, Carl, 32 Barstow, Susie M., 15 Bartók, Béla, 173–174 Bauer, Emilie Frances, 52–53, 56, 338n22 Bauer, Marion, 337n9; background Index Page numbers in italics represent illustrations. Index 384 of, 50–53; Beach and, 26, 49, 329n1; Beach compared to, 52–54; empathy with daffodils, 49–50; encouraging other women composers, 27–28, 329n1; “From the New Hampshire Woods” by, 50, 56, 62–68; influence of nature on, 48–49, 56; influences on, 55, 63–64, 340n44; inspired by poetry, 49–50; lack of personal experience with subject , 57, 61–62; at MacDowell Colony, 26, 54–55, 330n6, 336n4; on MacDowell Colony, 27–28, 48, 339n35; musical education of, 52–54, 338nn27–28; musical encouragement for, 52, 320; style of, 55, 339n35; travel in Europe, 53–55; Twentieth Century Music by, 57, 339n35, 340n44; university positions of, 26–27; “Up the Ocklawaha” by, 49, 56–62, 340n44 Beach, Amy Marcy Cheney (Mrs. H. H. A. Beach), 161, 333n19, 335n37; achieving recognition, 31, 339n31; Bauer and, 26, 49, 329n1; Bauer compared to, 52–54, 61–62; birds and birdsong and, 40–41, 71, 283; encouraging other women composers, 28, 329n1; factors easing composition by, 35–36; “Gaelic” Symphony in E Minor by, 36, 332n16; hermit thrush as iconic to, 40–43, 105; “A Hermit Thrush at Eve” by, 41–42; “A Hermit Thrush at Morn” by, 41–46, 61–62, 317, 335n46, 372n87; husband’s influence on, 32–35; influence of, 27; influences on, 40–42; limited education of, 55–56, 319, 372n2; at MacDowell Colony, 26, 330n6; MacDowell Colony and, 27–28, 37–39, 96–97, 105, 330n4, 333n19, 334n22; musical community of, 56, 320, 339n31; on nature and religion, 67, 73, 105; on nature as separate domain, 89, 106, 129; seeking quiet/silence, 222, 326n10; social circles of, 33, 36; teaching herself composition, 33–37; trying to capture nature in music , 317; use of birdsongs, 74, 335n46, 372n87 Beach, H. H. A., 32–33, 37 beauty, of nature, 73, 329n50; Bauer and, 51, 67–68; danger vs., 16, 29; women nature writers on, 11–13 Beethoven, Ludwig von, 352n49, 353n56 Beglarian, Eve, 351n34 “Benediction,” in Missa Gaia (Larsen), 259–264 Benét, William Rose, 65, 340n48 Berry, Wendell, 254–255 Big Sky (Tower), 133, 172–176, 354n79 bioregionalism, 365n25 “Bird Says ‘Bob White,’ The” (Talma), 73–74 birds, 282, 334n36, 362n30; Bond and, 222–227; Doolittle and, 278–279, 294– 301, 314–316; as small nature, 21, 28–29; Talma and, 71, 73–74; Tower and, 168 birdsongs, 296, 335n47; Beach “taking dictation” from, 43–44, 46–47; Beach using, 40–41, 74, 283, 335n46, 372n87; Bond using, 226, 362n32; Doolittle using, 284, 295, 297, 370n62; Doolittle’s affinity for high voice and, 298, 301; human music and, 281–297, 336n48; Messiaen ’s use of, 46, 336n51; replications of, 226, 284, 362n32; Stravinsky using, 293; Talma adapting in music, 80, 89; Talma using, 73–76, 79, 342n16; transcriptions of, 71, 79, 283, 314, 372n87...