Designed as a practical reference guide for professional pianists and piano teachers, A Guide to Piano Music by Women Composers, Volume I, is an annotated catalogue of the available piano music in print composed by 144 women born before the 20th century. The work also features biographies and extensive bibliographical information for each composer. Arranged alphabetically by composer into categories including single works, collections, and anthologies, the music is also described in terms of grade level, genre, mood, style characteristics, and technical requirements, and ranges in difficulty from late elementary to virtuoso concert repertoire. Far too many teachers, students, professional musicians, and audiences are unaware of the contributions made by women in music, and of the beauty and merit of their specific compositions. This reference work provides an invaluable addition to the current literature.

There She Goes Again interrogates the representation of ostensibly powerful women in transmedia franchises, examining how presumed feminine traits—love, empathy, altruism, diplomacy—are alternately lauded and repudiated as possibilities for effecting long-lasting social change. By questioning how these franchises reimagine their protagonists over time, the book reflects on the role that gendered exceptionalism plays in social and political action, as well as what forms of knowledge and power are presumed distinctly feminine. The franchises explored in this book illustrate the ambivalent (post)feminist representation of women protagonists as uniquely gifted in ways both gendered and seemingly ungendered, and yet inherently bound to expressions of their femininity. At heart,There She Goes Again asks under what terms and in what contexts women protagonists are imagined, envisioned, embodied, and replicated in media. Especially now, in a period of gradually increasing representation, women protagonists demonstrate the importance of considering how we should define—and whether we need—feminine forms of knowledge and power.

This title was first published in 2002: Burghley House, Stamford, was built between 1555 and 1587 for William Cecil, Lord Burghley, the Lord High Treasurer to Queen Elizabeth I. The library there contains an extensive collection of manuscript and printed music dating from about 1650 to 1850, substantially formed during the latter part of the 18th century by the Ninth Earl of Exeter. The collection is given particular significance by the inclusion of several rare and in some cases apparently unique volumes. This catalogue examines the Burghley House music collection in the light of contemporary documentary evidence. The opening section describes the people who added to the collection and their musical enthusiasms. This approach brings the collection to life and also enables us to appreciate emergent trends in British music history of the period. With each entry fully described and the printed music referenced to RISM or CPM, this catalogue should form a valuable reference source for all scholars of British music from the 17th to the 19th century.

The collection of pre-1825 printed music in the Fitzwilliam Museum, Cambridge, here catalogued for the first time.