Innehåller bibliografiska referenser och index.

Introduction / Laurel Parsons and Brenda Ravenscroft -- Part 1: Order, freedom, and design. Ursula Mamlok, Panta Rhei, Third Movement (1981) : "Twelve-Tone in My Own Way": an analytical study of Ursula Mamlok's Panta Rhei, Third Movement, with some reflections on twelve-tone music in America / Joseph N. Straus -- Norma Beecroft, Improvvisazioni Concertanti No. 1 (1961) : Improvvisazioni Concertanti No. 1 by Norma Beecroft: Serialism, improvisatory discourse, and the musical avant-garde / Christoph Neidhöfer -- Joan Tower, Silver Ladders (1986) : "Octatonicism," the octatonic scale, and large-scale structure in Joan Tower's Silver Ladders / Jonathan W. Bernard -- Part 2. Gesture, identity, and culture. Sofia Gubaidulina, String Quartet No. 2 (1987) : "Difference Inhabits Repetition": Sofia Gubaidulina's String Quartet No. 2 / Judy Lochhead -- Chen Yi, Symphony No. 2 (1993) : The transformative power of musical gestures: cultural translation in Chen Yi's Symphony No. 2 / Nancy Yunhwa Rao -- Part 3. Music, words, and voices. Kaija Saariaho, "The claw of the magnolia ..." From the Grammar of Dreams (1988) : Superposition in Kaija Saariaho's "The claw of the magnolia ..." / John Roeder -- Libby Larsen, Chanting to Paradise (1997) : Music as a mirror: Libby Larsen's Chanting to Paradise / Brenda Ravenscroft -- Elisabeth Lutyens, Essence of Our Happinesses (1968) : "This Imaginary Halfe-Nothing": Temporality in Elisabeth Lutyen's Essence of Our Happinesses / Laurel Parsons.

Analytical Essays on Music by Women Composers: Concert Music from 1960-2000 is the first to appear in an exciting a four volume series devoted to the work of women composers across Western art music history. Each chapter, many by leading music theorists, opens with a brief biographical sketch of the composer before presenting an in-depth critical-analytic exploration of a single representative composition, linking analytical observations with questions of meaning and sociohistorical context. Chapters are grouped thematically by analytical approach into three sections, each of which places the analytical methods used in the essays that follow into the context of late twentieth-century ideas and trends. Featuring rich analyses and detailed study by the most reputed music theorists in the field, along with brief biographical sketches for each composer, this collection brings to the fore the essential repertoire of a range of important composers, many of whom otherwise stand outside the standard canon.