I just got finished writing a chapter on composer Julia Perry's 1960 piece Homunculus C.F., a serial minimalist work, for a collection called—as for now—Expanding the Canon: Black Composers in the Music Theory Classroom, edited by Melissa Hoag. Perry (1924–1979) was a Black, possibly queer, American composer whose works were influenced by Black American genres, Western European forms and harmonic languages, and serialism as taught by Luigi Dallapiccola. In the essay, I write about Perry's use of pitch-class sets and pivot dyads and timbre and taleas and durational parameters.1 I felt very comfortable analyzing a woman composer's use of serial and minimalist techniques; it's something I've done before and a lot. And I was happy to have my work informed by the research of other women, including Mildred Denby Green, Gretchen Horlacher, Helen Walker-Hill, and Meg Wilhoite.2 But as I was writing my essay, I...

You do not currently have access to this content.