Publications

Books

Music, Life, and Changing Times: Selected Correspondence Between British Composers Elizabeth Maconchy and Grace Williams, ed. Sophie Fuller and Jenny Doctor two volumes (London: Routledge, 2020)

The Idea of Music in Victorian Fiction, ed. Sophie Fuller and Nicky Losseff (Aldershot: Ashgate, 2004)

including ‘“Cribbed, cabin'd, and confined”: Female musical creativity in Victorian fiction’.

Queer Episodes in Music and Modern Identity, ed. Sophie Fuller and Lloyd Whitesell (University of Illinois Press, 2002)

including ‘“Devoted Attention”: Looking for Lesbian Musicians in Fin-de-siècle Britain’.

Queer Episodes won the American Musicological Society’s 2002 Philip Brett Award for exceptional musicological work in the field of gay, lesbian, bisexual and transgender studies.

‘Women Composers during the British Musical Renaissance, 1880-1918’ PhD King’s College, London University 1998

The Women in Music Classical Repertoire Guide: Orchestral Music (London: WiM, 1996)

The Pandora Guide to Women Composers - Britain and the United States, 1629-present (London: Pandora, 1994)

Reclaiming the Muse: A Select Bibliography of English Language Writing on Women and Music (with Nicola LeFanu) (London: LeFanu and Fuller, 1991)

Translation of Yevgeny Zamyatin, Islanders and The Fisher of Men (with Julian Sacchi) (Edinburgh: Salamander Press, 1984)

Book chapters

‘Grace, Betty, Maude and Me: 30 Years of Fighting for Women Composers’ in ed. Rhianon Matthias, Handbook on Women’s Work in Music (London: Routledge, 2021)

‘Women in Composition: Before the Second World War’ in ed. Laura Hamer, Cambridge Companion to Women in Music since 1900 (Cambridge: Cambridge University Press, 2021)

‘The Maconchy-Williams Correspondence, 1927-1977’ in ed. Christa Brüstle and Danielle Sofer, Elizabeth Maconchy: Music as Impassioned Argument Studien zur Wertungsforschung (Vienna, London, New York: Universal Edition, 2018).

‘Women musicians and professionalism in the late 19th and early 20th centuries’ in ed. Rosemary Golding, The Music Profession in Britain 1780-1920: New Perspectives on Status and Identity (London: Routledge, 2018)

‘ “Something Revolting”: Women, Creativity and Music after 50’ in ed. Lisa Colton and Catherine Haworth, Gender, Age and Musical Creativity (Aldershot: Ashgate, 2015) 7-23.

‘Poetry: the songs and shorter secular choral works’ in The Cambridge Companion to Vaughan Williams ed. Alain Frogley and Aidan Thomson (Cambridge: Cambridge University Press, 2013), 106-120.

‘“The Finest Voice of the Century:” Clara Butt and Other Concert-hall and Drawing-room Singers of fin-de-siècle Britain’ in The Arts of the Prima Donna in the Long Nineteenth Century ed. Rachel Cowgill and Hilary Poriss (New York: Oxford University Press, 2012). 308-327.

‘Elgar and the salons: the significance of a private musical world’ in Elgar and His World ed. Byron Adams (Princeton University Press, 2007), 223-247.

‘Creative women and exoticism in fin-de-siècle Britain’ in Music and Orientalism in the British Empire, 1780s–1940s ed. Martin Clayton and Bennett Zon (Aldershot: Ashgate, 2007), 237-255.

‘Representations of British Women Composers’ in ed. Christa Brüstle and Guido Heldt, Music as a Bridge: Musikalische Beziehungen zwischen England und Deutschland 1920-1950  Studien und Materialien zur Musikwissenschaft Band 37 (Hildesheim, Zürich, New York: Georg Olms Verlag, 2005), 173-186.

‘Women in music: sources and literature’ in ed. Lewis Foreman, Guide To Information Sources In Music (München: K. G. Saur, 2003), 92-108.

‘ “Swimming against the stream”; why aren’t women composers being heard?’ in Les femmes et la création musicale/Women and musical creation Colloque du Conseil international de la musique et du Centre de documentation de la musique contemporaine (Paris: CDMC/CIM, 2002), 51-59.

‘New perspectives: feminism and music’, Analysing Performance ed. Patrick Campbell (Manchester: Manchester University Press, 1996), 70-81.

‘Dead white men in wigs: women and classical music today’, Girls! Girls! Girls!: Essays on Women and Music ed. Sarah Cooper (London: Cassell, 1995), 22-36.

‘The Silence of Violetta’ in Violetta and her Sisters. The Lady of the Camellias: Responses to the Myth ed. Nicholas John (London: Faber and Faber, 1994), 263-265.

‘British Women Song Composers: Late Nineteenth Century’, Aspects of British Song ed. Brian Blyth Daubney (Melton Mowbray: British Music Society, 1992)

Articles

‘‘Putting the BBC and T. Beecham to shame’: The Macnaghten-Lemare Concerts 1931-1937’, Journal of the Royal Musical Association, 138:2 (2013), 377-414.

‘Calls of the wild’ (article on the music of Diana Burrell), The Musical Times (February 1997)

‘Music and Text in the Works of Helen Roe’, Contemporary Music Review 11 (1994).

‘Unearthing A World Of Music: Victorian and Edwardian Women Composers’, Women: A Cultural Review III/1 (July 1992).

Reviews, journalism etc.

Review of Leah Broad, Quartet: How Four Women Changed the Musical World (London: Faber, 2023) in Musicology Australia (forthcoming).

‘Quartet review: did four women really change the world of classical music?’ [review of Leah Broad, Quartet: How Four Women Changed the Musical World (London: Faber, 2023)] in The Conversation click here.

Review of Rhiannon Mathias, Lutyens, Maconchy, Williams and Twentieth-Century British Music: A Blest Trio of Sirens (Farnham: Ashgate, 2012) Brio 50:1 (Spring/Summer 2013) 63-5.

Review of Laura Tunbridge, The Song Cycle (Cambridge University Press, 2010) Fontes Artis Musicae 59:4 (2012), 445-448.

Review of The Cambridge History of Twentieth-Century Music (Cambridge University Press, 2004) twentieth-century music 5:2 (September 2008) 251-8.

Review of Karin Pendle, Women in Music: A Research and Information Guide (Routledge, 2005) Fontes Artis Musicae 55:1 (Jan-March 2008).

Review of Alice Mary Smith, Symphony in A minor etc. (Chandos Chan 10283, 2005) Nineteenth-Century Music Review 4:2 (2007) 168-171.

Review of Judith A. Peraino, Listening to the Sirens: Musical technologies of Queer Idenity from Homer to Hedwig (California University Press, 2006) Women & Music: A Journal of Gender and Culture 11 (2007) 86-9.

‘Death by Serialism’ review of Jill Halstead, Ruth Gipps: Anti-Modernism, Nationalism and Difference in English Music (Ashgate, 2006) NABMSA Newsletter 2:2 (2006) <http://www.nabmsa.org/newsletters/vol22/page4.htm>

Review of Ethel Smyth, Trio in D minor for violin, cello and piano (Roberton Publications 2003) Nineteenth-Century Music Review 2:2 (2005) 245-247.

Review of Teaching Music History, edited Mary Natvig (Ashgate, 2002) British Journal of Music Education 20 (2003) 217-219.

‘Daphne Oram RIP’ The Wire 229 (March 2003) 16.

‘Level-headed in a lost world’ (review of Mozart biographies by Kolb and Rosselli) The Times Literary Supplement (8 January, 1999) 18.

‘Opportunity and obstacle’ (review of Carol Neuls-Bates, Women in Music: An Anthology of Source Readings) The Times Literary Supplement (27 December, 1996) 20.

‘Love’s folly, forgiveness and distress’ review of La Traviata (dir. Jonathan Miller for ENO) The Times Literary Supplement (27 September, 1996) 20.

Review of Women in Music, edited Carol Neuls-Bates BBC Music Magazine (June 1996) 28.

Articles on Proms premieres by Sally Beamish and Judith Bingham, BBC Music Magazine (July 1995).

Interview with Nicola LeFanu, The Full Score (June 1995).

‘Elizabeth Maconchy’, The Full Score (March 1995).

Review of Rediscovering the Muses ed. Kimberley Marshall, The Times Higher Education Supplement (17 February, 1995).

‘Powerful Music and Stories of Determination’ in Women in Music (accompanying the Secret Chamber season) (London: Channel 4 Television, 1994).

‘Ethel Smyth (1858-1944)’ in A Skirt Through History 1612-1950 (accompanying television series of the same title) (London: BBC Education, 1994).

Sleeve notes for ‘In Praise of Woman: 150 years of English women composers’ (Hyperion Records CDA66709, July 1994).

‘Lost Chords: The case for Maude Valérie White’ The Independent (22 June, 1994).

‘Behind the Myth’ (on Ethel Smyth) Everywoman (February 1993).

‘Sisters are doing it for themselves’ (review of British Women Composers Volume II), Everywoman (February 1993).

Review of Women & Music: A History ed. Karin Pendle, The Times Literary Supplement (13 November 1992).

‘Hidden Treasure’ (review of British Women Composers Volume 1), Everywoman (September 1992).

‘The Cheerful Soufflé’ (on Maude Valérie White), Everywoman (July 1991).

‘Notes from the Margin’, Just Women 12 (Spring 1990).

Dictionary, anthology and encyclopedia entries

Entries on Florence Aylward, Frances Allitsen, May Brahe, Guy D'Hardelot, Alicia Needham, Teresa del Riego and Amy Woodforde-Finden for MGG Online (Bärenreiter and J. B. Metzler in partnership with RILM, 2023)

Entries on 'Oliveria Prescott', 'Rosa Newmarch' and 'Women Writers on Musicx and Musicians' for the Palgrave Encyclopaedia of Women Writers (Palgrave, 2021)

Entry on Ethel Smyth for ed. Bonnie G. Smith, Encyclopedia of Women in World History (Oxford: Oxford University Press, 2007).

Essay on Ethel Barns and edition of slow movement (‘Elegie’) of Sonata No. 4 for violin and piano for ed. Glickman and Schleifer, Women Composers: Music Through The Ages Volume 8 (Boston: G. K. Hall, 2006) 397-406.

Entries on Dora Bright, Gervase Elwes, Ann Ford, Liza Lehmann, Adela Maddison, Oliveria Prescott and Maude Valérie White for the new edition of the Dictionary of National Biography (Oxford: Oxford University Press, 2004).

Essays on Frances Allitsen, Liza Lehmann, Adela Maddison, Maude Valérie White and editions of Allitsen, ‘Come not when I am dead’ and ‘There’s A Land’; Lehmann ‘Wiegenlied’, ‘Sweet Rhodoclea’, ‘The Wren’ and ‘Evensong’; Maddison, ‘La bien-aimée…’, ‘If you would have it so’ and ‘Tears’; White, ‘To Mary’, ‘So we’ll go no more a’roving’, ‘Isaotta Blanzesmano’ and ‘Mon petit lin’ for ed. Glickman and Schleifer, Women Composers: Music Through The Ages Volume 7 (Boston: G. K. Hall, 2003).

‘Women in Music’ in ed. Alison Latham, The Oxford Companion to Music new edition (Oxford University Press, 2002).

Entries on Eleanor Alberga, Frances Allitsen, Lucy Anderson, Marian Arkwright, Ethel Barns, Dora Bright, Diana Burrell, Mary Carmichael, Rosalind Ellicott, Erika Fox, Jennifer Fowler, Virginia Gabriel, Arabella Goddard, Dorothy Gow, Ethel Harraden, International Alliance of Women in Music, Nicola LeFanu, Adela Maddison, Florence Marshall, Daphne Oram, Caroline Orger, Priti Paintal, Oliveria Prescott, Teresa del Riego, Charlotte Sainton-Dolby, Ethel Smyth, Society of Women Musicians, Phyllis Tate, Nancy Van de Vate, Errollyn Wallen, Maude Valérie White, Agnes Zimmermann for ed. Stanley Sadie, The New Grove Dictionary of Music and Musicians 2nd edition (London: Macmillan, 2001).

29 entries on various aspects of women and music from ‘Courtesans, nuns and other musicians’ to ‘Sofiya Gubaydulina’ for ed. Stanley Sadie, Collins Classical Music Encyclopedia (London: Collins, 2000).

Essay on ‘Dora Bright’ and edition of Bright’s Variations on an Original Theme of Sir G. A. Macfarren’s for two pianos for ed. Glickman and Schleifer, Women Composers: Music Through The Ages Volume 6 (Boston: G. K. Hall, 1999).

Entries on Hildegard of Bingen, Thea Musgrave, Ethel Smyth and Ellen Zwilich for Grolier Encyclopedia (1998).

Revision of entries on Bacewicz, Boulanger, Gubaidulina, Hildegard, Lutyens, Maconchy, Parry, Smyth and Weir for The Rough Guide to Classical Music (2nd edition, 1998).

‘Women and the Creative Gift’, The Ultimate Encyclopedia of Classical Music ed. Rob Ainsley (London: Carlton Books, 1995).

Entries on Gubaidulina, Lutyens, Maconchy, Smyth and Weir in ed. Jonathan Buckley, The Rough Guide to Classical Music (London: Rough Guides, 1994).

Entries on Amanda Aldridge; Judith Bailey; Diana Burrell; Avril Coleridge-Taylor; Melanie Daiken; Katherine Eggar; Erika Fox; Jessie Furze; Dorothy Gow; Mary Linwood; Adela Maddison; Alicia Needham; Daphne Oram; Teresa del Riego; Phyllis Tate in The New Grove Dictionary of Women Composers ed. Rhian Samuel and Julie Ann Sadie (London: Macmillan, 1994).