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While she agrees that it makes sense to consider gender dynamics in terms of her biography, Tower thinks that gender should be left out of the discussion of instrumental music itself. Larsen said of her development as a composer, \"I began to think that it didn't matter what pitches I chose, if I could capture the ear and the soul of the listener through the use of rhythm.\" The piece was composed for his funeral service, so Larsen did her best to write a piece of music that captures the fleeting, flowing nature of love and the different types of love we can experience during our lives. Caroline Hartig, now professor of clarinet at The Ohio State University, commissioned this piece from Larsen.

Students can study these works alongside the \"standard repertoire.\" Here are a few to get you started: * (Clarinet Music By Women » 100 Clarinet Compositions by Women (Jenny Mclay) * Works by Female Composers (Erin Fung) * Reprints from the Early Years: Music for Clarinet by Women (Elsa Verdehr) * The Corelia Project * CAMCo Music Search Engine (you can search by level of difficulty, living composers, pronouns, and more) » Clarinet Works by Black Composers (Marcus Eley) * Clarinet Music by Black Composers (Spreadsheet) STUDENT EXPERIENCE There is no way a student can play everything in their years of study, therefore my goal is to expose all students to the widest array of repertoire possible. In 2021, we added language to the jury requirements to encourage exploration of music by living, underrepresented, and diverse composers. SOLO REPERTOIRE: *Jean Ahn Blush (2010) * Jenni Brandon Chansons de la Nature (2006) * Jenni Brandon Starry Night (2013) * Jenni Brandon Mobula Ray (2023) * Stacy Garrop Phoenix Rising (2016/2017) * Ruth Gipps Prelude (1959) (bass or Bb clarinet) * Ida Gotkovsky Sonata for solo clarinet (1986) * Amanda Harberg Hall of Ghosts (2021) » Libby Larsen Dancing Solo (1994) » Shulamit Ran Monologue (1977) * Shulamit Ran Spirit (2017) * Augusta Reed Thomas D(iJagon(als) (2005) * Chen Yi Monologue The True Story of Ah Q (1993) CLARINET AND PIANO * Lili Boulanger Nocturne and Cortege (1911) * Valerie Coleman Sonatine v * Clémence de Grandval Deux Pieces (1881) * Ida Gotkovsky Image de Norvège (1977) * Amanda Harberg Sonata (2016) * Augusta Holmes Fantasie (1899) * Jeanine Rueff Concertino (1950) * Jeanine Rueff Variations (1976) * Marie Elisabeth von SachsenMeiningen Romanze (1892) * Caroline Schleicher-Krihmer Sonata (1825) * Clara Schumann Drei Romanzen (1853) * Alice Mary Smith Sonata (1870) STUDENT CHOICES AND DIVERSE INTERSECTIONS My students often bring repertoire to lessons for performance consideration, including works by women and composers from underrepresented identities. dents have these works regularly on juries or recitals: SOLO REPERTOIRE * Kristen Denny-Chambers Jr

This book traces the development of music in the late 20th and early 21st centuries with regards to the work of six women composers: Sofia Gubaidulina, Joan Tower, Ellen Taaffe Zwilich, Libby Larsen, Chen Yi, and Judith Weir. The study integrates cultural contexts with the composers' biographies, their diverse compositional styles, and provides in-depth analyses of their musical works. The Kaleidoscope of Women's Sounds in Music of the Late 20th and Early 21st Centuries offers a more detailed guide to not only these composers, but also their musical characters and styles, than previous studies on women's music. It discusses several aspects of these women's compositional perspectives and their personal experiences as they developed their music careers. The book also places emphasis on how these composers incorporated diverse musical styles and the idioms of others into the development of their own distinctly personal styles. The analytical approach adopted in this book is supplemented with illustrations of musical examples in order to provide a more complete understanding of the work of these composers.

In homage to the composer Claude Debussy, Tower composed \"Steps,\" a short piano piece, which is preseted. The author briefly notes the ironic tribute to Milton Babbitt, who, she says, likely did not like or understand the French composer.

Joan Tower, the Asher B. Edelman Professor in the Arts at Bard College in Annandale-on-Hudson, New York, has been selected to receive the Composer of the Year Award at the 59th Annual Musical American awards ceremony at Carnegie Hall in New York City in December.