Susan Youens (Notre Dame, USA)

Editing Erotomania at the Mid-Century Mark: Schumann’s “Geisternähe”

Chanda VanderHart (Krems, Austria)

The Poet’s Love(r): A Translational Reimagining of Schumann’s Dichterliebe

Sharon Krebs (Victoria, Canada)

Married to a Rebel: Two Women Composers’ Responses to the Revolution of 1848

Frithjof Bömcke-Vollmer (Nürnberg, Germany)

Beethoven, the Anti-Heroic? Broken Gestures and Gender in “An die ferne Geliebte” op. 98 (1816)

Magdalena Brandauer (Vienna, Austria)

Construction of Femininity in the Songs of Ethel Smyth

Chris van Rhyn (Potchefstroom, South Africa)

Finding the Masculine and White African Gay Woman in Priaulx Rainier’s Art Songs

Lisa Williamson (Ithaca, USA)

The Musical Afterlife of Ophelia. Art Song, Madness, and the Female Voice

Jennifer Tipton (Miami, USA)

A Document in Death and Madness: Nineteenth-Century Art Song Settings of Ophelia’s Death

Kimberly Soby (New London, USA)

Framing Ophelia: Gender, Madness, and Musical Agency in Strauss’s Ophelia Lieder

Stephen Rodgers (Eugene, USA)

Gathering Leaves: Pauline Decker and the Limits of the Song Cycle

Jenna Ristilä (Helsinki, Finland)

Music as Emancipator in Carita Holmström’s Södergran Songs

Lara Venghaus (Paderborn, Germany)

From Gender as an Aesthetic Category in Friedrich Schleiermachers “Weihnachtsfeier“ to the Underrated Compositions of Louise Reichardt

Christopher Parton (Princeton, USA)

Maria Theresia Paradis and Eighteenth-Century Fictions of Blindness

Franziska Weigert (Regensburg, Germany)

‘Mother, Father, Child’ – Family Portrayals in German Romantic Lullabies and Their Role in Gender Discourse

Frances Falling (Graz, Austria)

Poet, Composer, Mother: Exploring Identity and Agency in Florence Price’s Art Songs

Jacy Pedersen (Wichita, USA)

Identity and Nostalgia in Stefania Turkevych’s “Emigration Elegy

Madlen Poguntke (Seoul, Korea)

Reframing Artsong: Transcultural Perspectives from Korean Gisaeng to European Salon Culture