In his seminal study on counterpoint and fugue, Alfred Mann writes, “There is probably no branch of musical composition in which theory is more widely, one might almost say hopelessly, at variance with practice than fugue.” Basically, Mann is telling

Continuing our series, I’d like to focus on the cello music of three additional women composers, artists whom I’ve previously featured. Amy Beach, (1867-1944) is one of the first American woman to be recognized as a composer. Her ‘Gaelic’ Symphony,

Clara Wieck-Schumann (1819-1896) confided in her diary, “a woman must not wish to compose—there never was one able to do it. Am I intended to be the one? It would be arrogant to believe that.” Her husband Robert was supportive

Among the most feared course requirements for many aspiring composers and students of music is a class simply labeled “Fugue.” And it’s no wonder, as a good many universities that still teach this kind of skills will ask you to

A famous writer once said, “Music is the most romantic of all arts.” And then he goes on to say that it “unlocks an unknown realm, a word with nothing in common with the surrounding outer worlds of the senses.

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In the last article, I introduced some moon-related music of the 20th century. In this article, I will introduce some moon-theme music written in the 21st century. These pieces span a variety of styles, instrumentation, and writing techniques. Written by