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² See Faucett, Bill F., ed., Music in America 1860–1918: Essays, Reviews, and Remarks on Critical Issues (Hillsdale, NY: Pendragon Press, 2008)Google Scholar; Chase, Gilbert, ed., The American Composer Speaks: A Historical Anthology, 1770–1965 (Baton Rouge: Louisiana State University Press, 1966)Google Scholar; May, Thomas, ed., The John Adams Reader: Essential Writings on an American Composer (Pompton Plains, NJ: Amadeus Press, 2006)Google Scholar; Sears, Benjamin, ed., The Irving Berlin Reader (New York: Oxford University Press, 2012)Google Scholar; Block, Geoffrey, ed., The Richard Rodgers Reader (New York: Oxford University Press, 2002)Google Scholar; Wyatt, Robert and Johnson, John Andrew, eds., The George Gershwin Reader (New York: Oxford University Press, 2004)Google Scholar; Brackett, David, ed., The Pop, Rock, and Soul Reader: Histories and Debates, 2nd ed. (New York: Oxford University Press, 2009)Google Scholar; Cateforis, Theo, ed., The Rock History Reader, 2nd ed. (New York: Routledge, 2013)Google Scholar; Neal, Mark Anthony and Forman, Murray, eds., That's the Joint!: The Hip-Hop Studies Reader 2nd ed. (New York: Routledge, 2011)Google Scholar; Dodd, David G. and Spaulding, Diana, eds., The Grateful Dead Reader (New York: Oxford University Press, 2000)Google Scholar; Petkov, Steven and Mustazza, Leonard, eds., The Frank Sinatra Reader (New York: Oxford University Press, 1995)Google Scholar; Goldsmith, Thomas, ed., The Bluegrass Reader (Urbana: University of Illinois Press, 2004)Google Scholar; Kingsbury, Paul, ed., The Country Reader: Twenty-five Years of the Journal of Country Music (Nashville, TN: Country Music Foundation Press and Vanderbilt University Press, 1996)Google Scholar; Walser, Robert, ed., Keeping Time: Readings in Jazz History (New York: Oxford University Press, 1999)Google Scholar; Cooke, Mervyn, ed., The Hollywood Film Music Reader (New York: Oxford University Press, 2010)Google Scholar; Hubbert, Julie, ed., Celluloid Symphonies: Texts and Contexts in Film Music History (Berkeley: University of California Press, 2011)Google Scholar; Wierzbicki, James Eugene, Platte, Nathan, and Roust, Colin, eds., The Routledge Film Music Sourcebook (New York: Routledge, 2012)Google Scholar; and Southern, Eileen, Readings in Black American Music, 2nd ed. (New York: W.W. Norton, 1983)Google Scholar.

³ Thompson, Donald, ed., and trans., Music in Puerto Rico: A Reader's Anthology (Lanham, MD: Scarecrow Press, 2002)Google Scholar; Smith, Maya Ramos and Cardona, Patricia, eds., La danza en México: Visiones de cinco siglos, 2 vols. (Mexico City: Consejo Nacional para la Cultura y las Artes; Instituto Nacional de Bellas Artes; Centro Nacional de Investigación, Documentación e Información de la Danza “José Limón”; Escenología, A.C., 2002)Google Scholar.

⁴ Tick, Judith, American Women Composers before 1870 (Ann Arbor, MI: UMI Research Press, 1983; Rochester, NY: University of Rochester Press, 1995)Google Scholar; Bowers, Jane and Tick, Judith, eds., Women Making Music: The Western Art Tradition, 1150–1950 (Urbana: University of Illinois Press, 1986)CrossRefGoogle Scholar. Tick recently reflected on the vicissitudes of the publication history of this seminal book of essays, and the subsequent development of scholarship in women in music and feminist studies, during a plenary address to the 2011 Feminist Theory in Music Conference (FTM 11) in “Reflections on the Twenty-fifth Anniversary of Women Making Music,” Women & Music: A Journal of Gender and Culture 16 (2012): 113–32.

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