Women in Music: A Research and Information Guide is an annotated bibliography emerging from more than twenty-five years of feminist scholarship on music. This book testifies to the great variety of subjects and approaches represented in over two decades of published writings on women, their work, and the important roles that feminist outlooks have played in formerly male-oriented academic scholarship or journalistic musings on women and music.

Women in Music: A Research and Information Guide is an annotated bibliography emerging from more than twenty-five years of feminist scholarship on music. This book testifies to the great variety of subjects and approaches represented in over two decades of published writings on women, their work, and the important roles that feminist outlooks have played in formerly male-oriented academic scholarship or journalistic musings on women and music.

Blackness in Opera critically examines the intersections of race and music in the multifaceted genre of opera. A diverse cross-section of scholars places well-known operas (Porgy and Bess, Aida, Treemonisha) alongside lesser-known works such as Frederick Delius's Koanga, William Grant Still's Blue Steel, and Clarence Cameron White's Ouanga! to reveal a new historical context for re-imagining race and blackness in opera. The volume brings a wide-ranging, theoretically informed, interdisciplinary approach to questions about how blackness has been represented in these operas, issues surrounding characterization of blacks, interpretation of racialized roles by blacks and whites, controversies over race in the theatre and the use of blackface, and extensions of blackness along the spectrum from grand opera to musical theatre and film. In addition to essays by scholars, the book also features reflections by renowned American tenor George Shirley. Contributors are Naomi Andre, Melinda Boyd, Gwynne Kuhner Brown, Karen M. Bryan, Melissa J. de Graaf, Christopher R. Gauthier, Jennifer McFarlane-Harris, Gayle Murchison, Guthrie P. Ramsey Jr., Eric Saylor, Sarah Schmalenberger, Ann Sears, George Shirley, and Jonathan O. Wipplinger.

"Blackness in Opera" critically examines the intersections of race and music in the multifaceted genre of opera. A diverse cross-section of scholars places well-known operas ("Porgy and Bess, Aida, Treemonisha") alongside lesser-known works such as Frederick Delius's "Koanga, " William Grant Still's "Blue Steel, " and Clarence Cameron White's "Ouanga " to reveal a new historical context for re-imagining race and blackness in opera. The volume brings a wide-ranging, theoretically informed, interdisciplinary approach to questions about how blackness has been represented in these operas, issues surrounding characterization of blacks, interpretation of racialized roles by blacks and whites, controversies over race in the theatre and the use of blackface, and extensions of blackness along the spectrum from grand opera to musical theatre and film. In addition to essays by scholars, the book also features reflections by renowned American tenor George Shirley. Contributors are Naomi Andre, Melinda Boyd, Gwynne Kuhner Brown, Karen M. Bryan, Melissa J. de Graaf, Christopher R. Gauthier, Jennifer McFarlane-Harris, Gayle Murchison, Guthrie P. Ramsey Jr., Eric Saylor, Sarah Schmalenberger, Ann Sears, George Shirley, and Jonathan O. Wipplinger.

Best known as the story from the 1904 Puccini opera, the compelling modern myth of Madame Butterfly has been read, watched, and re-interpreted for over a century, from Pierre Loti's 1887 novel Madame Chrysantheme to A.R. Gurney's 1999 play Far East. This fascinating collaborative volume examines the Madame Butterfly narrative in a wide variety of cultural contexts - literary, musical, theatrical, cinematic, historical, and political - and in a variety of media - opera, drama, film, and prose narratives - and includes contributions from a wide range of academic disciplines, such as Asian Studies, English Literature, Theatre, Musicology, and Film Studies. From its original colonial beginnings, the Butterfly story has been turned about and inverted in recent years to shed light back on the nature of the relationship between East and West, remaining popular in its original version as well as in retellings such as David Henry Hwang's play M. Butterfly and David Cronenberg's screen adaptation. The combined perspectives that result from this collaboration provide new and challenging insights into the powerful, resonant myth of a painful encounter between East and West.