277:, a theoretical compositional system developed by Charles Seeger and Cowell and most famously articulated in the works of Ruth Crawford Seeger. However, Beyer developed her own distinctive gestures and procedures that distinguished her music from that of her colleagues. Her compositions are characterized by an economic use of resources, balanced and well-constructed forms, "a unique sense of humor and whimsy," and a commitment to experimentation.
124:, having studied piano, harmony, theory, counterpoint, singing, and dancing. Colleagues in New York recalled that her pianism and musicianship were excellent and that her musical training seemed traditional and solid. She spent 1911–1914 in America, though nothing is known of her activities during those years. Returning to the U.S. in 1923 (according to the biographical notes she provided in a
168:, a now-forgotten composer and painter who studied with Beyer. Her most intimate friendship was with Cowell; surviving correspondence reveals a tumultuous, and possibly romantic, relationship between the two composers. Beyer acted as Cowell's informal agent and secretary from 1936 to 1941 on a voluntary basis (only receiving partial compensation in 1941).
284:(1938) is the first known work scored for electronic instruments by a female composer. The fourth movements of her two clarinet suites (1932) are some of the earliest examples of a pitch-based approach to rhythmic processes, which would not be fully explored again until the late 1940s by composers such as
311:
Perhaps Beyer's most important and overlooked contribution to the development of new music is her repertoire for percussion ensemble. The
Percussion Suite of 1933 is one of the earliest examples in this genre and differs from those of her contemporaries in that it "explores the understated and quiet
320:
calls one of the "most gorgeous orchestrations for percussion ensemble ever composed," and the Three
Movements for Percussion (1939). All of her percussion music is distinguished from that of her contemporaries by its sense of humor, and "emphasis on process over more purely rhythmic exploration."
203:, for which she wrote the lyrics, composed the incidental music, choreographed the modern ballet, designed and created the costumes, slides, and advertisements, directed the production, and performed the piano part. The play was performed under the auspices of the
932:
de Graaf, "'Never Call Us Lady
Composers': Gendered Receptions at the New York Composers' Forum, 1935–1940," "American Music" 26/3 (Fall 2008), 291–92; Lumsden, Rachel, "'The Pulse of Life Today': Borrowing in Johanna Beyer's String Quartet No. 2,"
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performed two movements of her "Three
Movements for Percussion" in his northwestern percussion tours during the late 1930s. In 1936 her skills in multiple media came to the fore in her play,
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in 1933, where her Three Songs for
Soprano, Piano, and Percussion were performed. A year later, the second movement from her Suite for Clarinet and Bassoon, performed in one of
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Although her music was overlooked during her lifetime and for decades after her death, it was some of the most experimental and prophetic work created during the 1930s.
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For a detailed discussion of Beyer's experiences in the
Composers' Forum, see de Graaf, "Intersections of Gender and Modernism in the Music of Johanna Beyer."
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Suite for
Clarinet and Bassoon, movements 2 and 4 only, Rosario Mazzeo, clarinet, Raymond Allard, bassoon (New Music Quarterly Recordings 1413 side A , 1938).
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Much of Beyer's music, particularly that written between 1931 and 1939, reflects the aesthetics of the
American "ultra-modernists," a circle which included
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Beal, Amy, "'Her Whimsy and
Originality Really Amount to Genius': New Biographical Research on Johanna Beyer," "American Music" 38/1 (Fall 2008), 12.
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Polansky, Larry, and John
Kennedy. "'Total Eclipse': The Music of Johanna Magdalena Beyer: An Introduction and Preliminary Annotated Checklist,"
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227:. In 1988, New York's Essential Music revived her music for the centenary of her birth, presenting two concerts surveying her work.
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de Graaf, Melissa. "'Never Call Us Lady Composers': Gendered Receptions in the New York Composers' Forum, 1935-1940,"
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String Quartet no. 2, Miwako Abe, violin 1, Aaron Barnden, violin 2, Erkki Veltheim, viola, Rosanne Hunt, cello, on
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String Quartet no. 1, Miwako Abe, violin 1, Aaron Barnden, violin 2, Erkki Veltheim, viola, Rosanne Hunt, cello, on
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Though she was largely ignored as a composer, she did have a number of important performances. The first was at the
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245:. The editing and recopying work has been contributed on a voluntary basis by composers interested in the project.
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de Graaf, Melissa. "The Reception of an Ultra-Modernist: Ruth Crawford's Experience in the Composers' Forum," in
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Beal, Amy. "'Her Whimsy and Originality Really Amount to Genius': New Biographical Research on Johanna Beyer,"
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567:(the "Sandburg Songs") (Timber Moon; Stars, Songs, Faces; Summer Grass) (soprano, piano, percussion) (1933)
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http://cral.ehess.fr/docannexe/file/1077/marguerite_boland_le_langage_musical_de_johanna_beyer.pdf
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The large clusters in these works often require the pianist to play the keys with their forearms.
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Lumsden, Rachel. "'The Pulse of Life Today': Borrowing in Johanna Beyer's String Quartet No. 2,"
79:
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music of the 1960s, most notably the fourth movement of her first String Quartet. She included
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Hinkle-Turner, Elizabeth. "Lady Ada's Offspring: Some Women Pioneers in Music Technology," in
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211:, but manuscript sources for it have not yet been found. Her music was performed twice in the
132:, receiving two degrees by 1928. She taught piano to support herself, and may have taught at
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1154:
Ruth Crawford Seeger's Worlds: Innovation and Tradition in Twentieth-century American Music
234:(ALS), also known as Lou Gehrig's disease, during the final years of her life. She died in
1134:
de Graaf, Melissa. "Intersections of Gender and Modernism in the Music of Johanna Beyer,"
1121:, Centre de recherches sur les arts et le language, EHESS (Paris, France), December 2006.
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John Kennedy and Larry Polansky, "'Total Eclipse': The Music of Johanna Magdalena Beyer,"
915:
Melissa de Graaf, "Intersections of Gender and Modernism in the Music of Johanna Beyer,"
854:
Three Pieces for Choir: The Main Deep; The Composers Forum Laboratory; The People, Yes!,
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expressive possibilities of percussion." Other percussion pieces from the 1930s include
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Boland, Marguerite. "Le langage musical de Johanna Beyer." Proceedings from Le Colloque
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http://eamusic.dartmouth.edu/~larry/beyerjpegs/beyer_tempo_melodies_boland_polansky.pdf
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Three Songs for Soprano and Clarinet, Merlyn Quaife, soprano, Craig Hill, clarinet, on
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work and Ladies Home Aid. In the late 1920s or early thirties she began studying with
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719:, Meehan/Perkins Duo and the Baylor Percussion Group, (New World Records 80711, 2011)
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Restless, Endless, Tactless: Johanna Beyer and the Birth of American Percussion Music
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160:. Her musical life during these years was intertwined with Seeger, Crawford, Cowell,
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Movement for Double Bass and Piano, Nicholas Synot, double bass, Kim Bastin, piano
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Boland, Marguerite. "Experimentation and Process in the Music of Johanna Beyer."
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Some of her scores are available in recopied, annotated editions through the
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1156:, eds. Ellie Hisama & Ray Allen. University of Rochester Press, 2006.
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Movement for Two Pianos, Peter Dumsday, piano 1, Kim Bastin, piano 2, on
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Tempo Melodies in the Johanna Beyer Clarinet Suites (Fourth Movements)
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New Music for Electronic and Recorded Media: Women in Electronic Music
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Urbana, Chicago, and Springfield: University of Illinois Press, 2015.
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1131:". Larry Polansky's Dartmouth website (accessed September 20, 2015).
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Reese, Kirsten. "Ruhelos: Annäherung an Johanna Magdalena Beyer,"
316:(1935), the March for Thirty Percussion Instruments (1939), which
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https://mugi.hfmt-hamburg.de/upload/Johanna_Beyer/BeyerBoland.pdf
846:, Ruth Crawford, Charles Dodge, David Mahler, Larry Polansky,
1170:. Aldershot, Hants; Burlington, VT: Ashgate Publishers, 2006.
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Johanna Magdalena Beyer scores (the composer's manuscripts)
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1182:"The Choral and Chamber Music of Johanna Magdalena Beyer"
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Women Composers and Music Technology in the United States
136:, but struggled to make ends meet, resorting at times to
1163:, ed. Martina Homma, 25–33. Sinzig: Studio-Verlag, 2000.
90:(July 11, 1888 – January 9, 1944) was a German-American
972:
Quoted in Polansky and Kennedy, "'Total Eclipse,'" 721.
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Clarinet Sonata II in B flat, Pat Okeefe, clarinet, on
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Frau Musica (nova): Komponieren heute/Composing today
104:(1936), the only work published during her lifetime.
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Deaths from motor neuron disease in New York (state)
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The New York Public Library for the Performing Arts
739:, Merlyn Quaife, soprano, Craig Hill, clarinet, on
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1136:Institute for Studies in American Music Newsletter
917:Institute for Studies in American Music Newsletter
215:, in 1936 and 1937. Her work was also part of the
818:Suite for Clarinet I, Daniel Goode, clarinet, on
1296:American contemporary classical music performers
832:Suite for Violin and Piano, Miwako Abe, violin,
825:Suite for Clarinet Ib, Craig Hill, clarinet, on
579:(Total Eclipse; Universal-Local; To Be) (1934)
164:, and others in this modernist circle such as
1080:Polansky and Kennedy, "'Total Eclipse,'" 726.
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565:Three Songs for Piano, Percussion and Soprano
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516:Winter Ade and five other folk song settings
790:(1938), The Electronic Weasel Ensemble, on
585:(soprano and flute) (3 versions) (1936–37)
273:. Many of Beyer's works are exemplary of
187:, was perceived as a "doleful dull duet."
122:Deutscher Konservatorien and Musikseminare
20:
1217:International Music Score Library Project
1127:Boland, Marguerite, and Larry Polansky. "
548:(no date), includes the well-known "Bees"
797:Sonatina in C, Peter Dumsday, piano, on
1376:Olympic competitors in art competitions
1140:http://depthome.brooklyn.cuny.edu/isam/
921:http://depthome.brooklyn.cuny.edu/isam/
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292:. Several of her works anticipate the
98:. Among her best known compositions is
1200:Musiktexte: Zeitschrift fur Neue Musik
879:no. 3, (Non Sequitur Recordings, 1991)
304:a suite for solo piano, and the duet,
1361:20th-century American women musicians
1321:German emigrants to the United States
477:Movement for String Quartet ("Dance")
128:concert program), she studied at the
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1311:Musicians from the Kingdom of Saxony
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577:Three Songs for Soprano and Clarinet
1381:20th-century German women composers
875:, performed by Essential Music, on
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862:, (New World Records 80678-2, 2008)
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822:, (New World Records 80678-2, 2008)
815:, (New World Records 80678-2, 2008)
808:, (New World Records 80678-2, 2008)
801:, (New World Records 80678-2, 2008)
784:, (New World Records 80678-2, 2008)
774:, (New World Records 80678-2, 2008)
753:, (New World Records 80678-2, 2008)
743:, (New World Records 80678-2, 2008)
546:Piano-Book, Classic-Romantic-Modern
350:March for 30 Percussion Instruments
1286:American women classical composers
957:"Women in Electronic Music – 1977"
417:Movement for Double Bass and Piano
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411:Suite for Bass Clarinet and Piano
1271:20th-century classical composers
1104:38/1 (Fall 2008), 1, 4-5, 12-13.
919:33/2 (Spring 2004): 8–9, 15 <
858:, John McCaughey, conductor, on
851:(New World Records 80-641, 2006)
770:, John McCaughey, conductor, on
1366:20th-century American composers
1186:Johanna Beyer - Sticky Melodies
651:The Composers' Forum Laboratory
510:Clusters (or, New York Waltzes)
336:Percussion Suite in 3 Movements
243:Frog Peak/Johanna Beyer Project
1346:Pupils of Ruth Crawford Seeger
664:Fragment for Chamber Orchestra
540:Prelude and Fugue (in C Major)
399:Suite for Clarinet and Bassoon
362:Three Movements for Percussion
209:Central Manhattan Music Center
173:New School for Social Research
158:New School for Social Research
1:
1356:20th-century German composers
1326:Mannes School of Music alumni
760:(Zeitgeist, Innova 589, 2003)
573:(soprano and clarinet) (1934)
441:Six Pieces for Oboe and Piano
405:Sonata for Clarinet and Piano
232:amyotrophic lateral sclerosis
193:New Music Quarterly Recording
1291:American classical composers
1213:Free scores by Johanna Beyer
1138:33/2 (Spring 2004), 8–9, 15
488:"Music of the Spheres" from
134:Greenwich House Music School
1119:Des Ponts vers L'Amérique I
749:, Peter Dumsday, piano, on
156:'s percussion class at the
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1276:German classical composers
1202:, nos. 81–82 (1999): 6–15.
1177:35/3 (Fall 2017), 303–342.
1166:Hinkle-Turner, Elizabeth.
1149:26/3 (Fall 2008), 277–308.
1045:Kennedy and Polansky, 725.
981:Kennedy and Polansky, 723.
937:35/3 (Fall 2017), 303–342.
604:(chamber orchestra) (1937)
435:Suite for Oboe and Bassoon
429:Suite for Violin and Piano
183:of California concerts in
112:Johanna Beyer was born in
101:IV for Percussion Ensemble
1351:Women in electronic music
764:The Federal Music Project
633:The Federal Music Project
213:New York Composers' Forum
1371:Sub Rosa Records artists
1341:Pupils of Charles Seeger
794:(CRI CD 728, 1977, 1997)
737:Ballad of the Star-Eater
676:Dance for Full Orchestra
571:Ballad of the Star-Eater
306:Movement for Two Pianos.
1250:Northwestern University
1026:http://www.frogpeak.org
906:80/4 (Winter 1996),720.
598:(14 instruments) (1935)
423:Movement for Two Pianos
236:New York City, New York
130:Mannes College of Music
120:and graduated from the
88:Johanna Magdalena Beyer
68:New York City, New York
35:Johanna Magdalena Beyer
1336:Pupils of Henry Cowell
1316:Musicians from Leipzig
955:Amirkhanian, Charles.
723:Dissonant Counterpoint
616:(wind ensemble) (1938)
522:Dissonant Counterpoint
453:Movement for Woodwinds
275:dissonant counterpoint
118:Leipziger Singakademie
1193:The Musical Quarterly
1102:American Music Review
1054:Hinkle-Turner (2000).
834:Michael Kieran Harvey
758:If Tigers Were Clouds
704:Symphonic Movement II
627:The Robin in the Rain
610:(concert band) (1938)
590:Large Mixed Ensembles
447:Quintet for Woodwinds
393:Suite for Clarinet Ib
205:Federal Music Project
1195:80/4 (1996), 719–78.
1188:. New World Records.
959:. Liner note essay.
838:Works for Violin by
788:Music of the Spheres
711:Selected discography
686:Symphonic Movement I
483:String Quartet No. 4
471:String Quartet No. 2
465:String Quartet No. 1
387:Suite for Clarinet I
368:Waltz for Percussion
282:Music of the Spheres
255:Ruth Crawford Seeger
225:1932 Summer Olympics
1281:Modernist composers
230:Beyer battled with
201:The Modern Composer
459:Trio for Woodwinds
80:20th-century music
1184:. Liner notes to
961:New World Records
904:Musical Quarterly
842:, Johanna Beyer,
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181:New Music Society
152:and in 1934 took
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25:Johanna Beyer
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1257:at Rochester
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1008:. Retrieved
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844:Henry Cowell
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166:Jessie Baetz
154:Henry Cowell
150:Dane Rudhyar
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62:(1944-01-09)
18:
1306:1944 deaths
1301:1888 births
1111:76 (2007),
1093:Beal, Amy.
1036:Reese, 6–7.
856:Astra Choir
768:Astra Choir
583:Have Faith!
238:, in 1944.
217:music event
191:reviewed a
1265:Categories
877:The Aerial
725:, I–VIII;
680:Status Quo
559:Sky-Pieces
490:Status Quo
356:Percussion
330:Percussion
294:minimalist
41:1888-07-11
1109:Viva Voce
1010:August 1,
1005:Olympedia
658:Orchestra
614:Reverence
542:(no date)
467:(1933–34)
302:Clusters,
197:John Cage
162:John Cage
108:Biography
1255:Archives
1063:Boland,
92:composer
1246:Archive
1234:in the
1219:(IMSLP)
1215:at the
1088:Sources
608:Elation
485:(1943?)
413:(1936?)
223:at the
219:in the
207:at the
114:Leipzig
96:pianist
49:Leipzig
1223:Scores
706:(1941)
700:(1940)
694:(1939)
688:(1939)
682:(1938)
672:(1937)
666:(1937)
653:(1937)
647:(1937)
641:(1937)
635:(1936)
629:(1935)
602:Cyrnab
561:(1933)
553:Songs:
536:(1943)
530:(1939)
524:(193?)
518:(1936)
512:(1936)
506:(1934)
492:(1938)
479:(1938)
473:(1936)
461:(194?)
455:(1938)
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431:(1937)
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389:(1932)
376:(1941)
374:Strive
370:(1939)
364:(1939)
352:(1939)
346:(1935)
338:(1933)
148:, and
70:, U.S.
1225:from
923:>.
887:Notes
729:, on
678:from
621:Choir
596:March
325:Works
1012:2020
747:Bees
288:and
269:and
94:and
57:Died
31:Born
1248:at
1238:of
300:in
179:'s
138:WPA
76:Era
1267::
1071:^
1003:.
895:^
873:IV
766:,
499::
343:IV
314:IV
265:,
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257:,
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963:.
43:)
39:(
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