ABSTRACT
The focus of this chapter is to reveal the historical roots of the “publish or perish” phenomenon in the Western art music tradition. The chapter also examines how tradition still impacts the reception of compositional work by women, including the assignment of culturally defined gender norms. The Judeo-Christian roots of historical music documentation are explained, focusing on the development of sacred genres that formed a cornerstone of the Western art music canon. Musicologists’ tendency to legitimize music that was preserved in print is investigated, along with the inclination of authors to document public-sphere music rituals that initially excluded women. After examining the work of Hildegard von Bingen, including Mass excerpts and the morality play Ordo Virtutum, the trajectory of the sacred music canon is followed by examining the work of Baroque composer Isabella Leonarda, as well as modern works by Mary Lou Williams, Sofia Gubaidulina, and Sara Parkman.
