Molly Murdock, co-creator of Music by Women (formerly Music Theory Examples by Women), speaks to the need for a journal dedicated to music by women in her introduction, “Introducing the Music by Women Journal.”
Marcie Ray’s article “Sarah Kirkland Snider’s ‘Penelope’ and the Trauma of Coming Home from War” closes our first issue and introduces us to Penelope, a song cycle about the homecoming of a wounded combat veteran and reunion with his wife. Marcie’s writing beautifully connects our academic curiosities to our humanness, however, the content of the artistic material is heavy. I caution a trigger warning in the areas of PTSD, traumatic brain injuries, traumatic memories, survivor’s guilt, ambiguous loss, secret shame, and caregiver difficulties.
Lillie Gardner helps us get acquainted with Florence Price’s pedagogical works for piano “Beginning Pieces, Volume I and II”. In her review, “Florence Price’s Piano Teaching Music,” Garnder describes these pieces as having exceptional versatility and appropriate for use with both children and adults.
Jessica Steuver helps us get to know Satis Coleman, an innovative music educator working in the first half of the twentieth century, in her article, “Satis N. Coleman: Progressive Music Education’s Unseen Foundation.” Although Coleman was inducted into the Music Educators Hall of Fame, she is not well known in the profession.
Arris Golden introduces us to “Wind Band Composers You Should Know.” Golden’s article highlights the works of Erika Svanoe, Tara Islas, Elena Specht, and Valerie Coleman. Arris provides information about the composers, links to performances of their works, and links to the composers’ websites.