I feel bad that an upcoming minimalism conference co-directed by myself, of all people, has been criticized for its absence of attention to woman composers. I don’t quite know how to go about addressing the collective guilt of the musicological field. As I said in the comments, I don’t know why Meredith Monk, not to mention Pauline Oliveros and Elodie Lauten, get so little attention in the nascent scholarly attention paid to minimalism. Monk’s scores, when she uses them at all, don’t really circulate; I managed to coax one of her opera Atlas from her, and I occasionally teach it. Still, there are a lot of scholars less score-oriented than myself who could put together a good paper on Monk’s distinct and original performance practice. (In Atlas, the instrumental accompaniments and some vocal lines are written out, but much of the vocal writing, including choral material, is developed in rehearsal, depending on the attributes of the singers available. Meredith prefers to teach her parts vocally, without the dehumanization of paper mediation.) Talking about the subject, composer Bernadette Speach once told me that in New York women composers come to men composers’ concerts, but that men rarely showed up to hear women; I started taking count, and found she had pretty much hit the nail on the head.