The following is a working bibliography of scholarship on the life and music of Dame Ethel Smyth, including Smyth’s memoirs and published essays. Sources are listed alphabetically. Any errors or omissions are my own. I am currently updating this page – if you know of a source that should be listed here, please contact us!

— Amy Zigler, PhD

Abromeit, Kathleen A. “Ethel Smyth, The Wreckers, and Sir Thomas Beecham.” The Musical Quarterly 73, no. 2 (1989): 196–211.

Anderson, Gwen. Ethel Smyth: The Burning Rose: A Brief Biography. London: Cecil Woolf Publishers, 1997.

Arnft, Susanne. “Ethel Smyth’s Opernschaffen. Eine Auseinandersetzung mit der gesellschaftlichen Situation der Jahrhundertwende in England” In ‘Nach Frankreich zogen zwei Grenadier’. Zeitgeschehen im Spiegel von Musik, hrsg. von Brunhilde Sonntag (Musik, Kunst & Konsum, Vol. 2), 106–22, Münster : Lit, 1991.

Baldwin, Denise; Harding, Katherine. Pioneers of Their Time. The Stories of Douglas Macmillan MBE & Dame Ethel Smyth, Sidcup: Lamorbey & Sidcup Local History Society, 1996.

Barnes, Jennifer Chase. “Fête Galante. The Distillation of an Idea.” M.Mus., Royal College of Music, London, 1989.

Bartsch, Cornelia. Grotjahn, Rebecca. Unseld, Melanie. (Eds.) Felsensprengerin, Brückenbauerin, Wegbereiterin. Die Komponistin Ethel Smyth. (Beiträge zur Kulturgeschichte der Musik, Vol. 2), Munich: Allitera, 2010.

Bartsch, Cornelia. “Schön Rohtraut und das Sattelpferd. Lyrisches und biographisches Ich in Ethel Smyths Liedkompositionen der 1870er Jahre.” In Felsensprengerin, Brückenbauerin, Wegbereiterin. Die Komponistin Ethel Smyth, ed. by Cornelia Bartsch, Rebecca Grotjahn and Melanie Unseld (Beiträge zur Kulturgeschichte der Musik, Vol. 2), 121–52. Munich: Allitera, 2010.

_____. “’(Anti)Primitivismus’? Ethel Smyth’s ‘Grosse Fuge’ (1913).” MusikTheorie 29, no. 4 (2014): 317–32.

_____. “Cyclic Organization, Narrative and Self-Construction in Ethel Smyth’s Lieder und Balladen, op. 3 and Lieder, op. 4.” In Women and the Nineteenth-Century Lied, ed. by Aisling Kenny and Susan Wollenberg, 177–216. London/ New York: Routledge, 2015.

_____. “‘Pultvirtuose’ und ‘Lady of the bâton’. Vergeschlechtlichte Körperbilder des Dirigierens.” In DirigentenBilder. Musikalische Gesten – verkörperte Musik, ed. by Arne Stollberg, Jana Weißenfeld and Florian Henri Besthorn, 311–45. Basel: Schwabe 2015.

_____. “Ethel Smyth dirigiert.” In Die Tonkunst 11, no. 3 (July 2017): 307–16.

Bellis, Hannah. Heroines of Our Time. Marie Curie, Ethel Smyth, Agnes Hunt, Sylvia Pankhurst, Rosita Forbes, Jean Batten, London/Edinburgh: W. & R. Chambers, 1939.

Bernstein, Jane A. “’Shout, Shout, Up with Your Song!’ Dame Ethel Smyth and the Changing Role of the British Woman Composer.” In Women Making Music: The Western Art Tradition, 1150-1900, ed. by Jane Bowers and Judith Tick, 304-322. Urbana: University of Illinois Press, 1985.

_____. “Dame Ethel Smyth (1858–1944).” In Historical Anthology of Music by Women, ed. by James R. Briscoe, 220–31. Bloomington: Indiana University Press, 1987.

_____. “Smyth, Dame Ethel (Mary).” In The New Grove Dictionary of Women Composers, ed. by Julie Anne Sadie and Rhian Samuel, 429–33. Reprint, London: Macmillan, 1996.

Broad, Leah. Quartet: How Four Women Changed the Musical World. Faber & Faber, 2023.

Brohm, Michaela. Die Komponistin Ethel Smyth 1858–1944. Ursachen von Anerkennung und Misserfolg. Eine Untersuchung zum Spannungsfeld zwischen biographisch-psychosozialen, werkimmanenten und historischen Faktoren. Berlin: Rhombos, 2007.

Citron, Marcia J. “Dr. Marcia J. Citron on The Wreckers at Houston Grand Opera.” Women’s Philharmonic Advocacy. https://wophil.org/marcia-j-citron-wreckers-houston/?doing_wp_cron=1672092456.1806221008300781250000

Clements, Elicia. Resonant Dis-closures. Aural Strategies of Resistance in Virginia Woolf, Gertrude Stein, and Ethel Smyth, PhD, York University, Toronto 2003.

_____. “Virginia Woolf, Ethel Smyth, and Music: Listening as a Productive Mode of Social Interaction.” College Literature 32, no. 3 (Summer 2005): 51-71.

_____. “‘As Springy as a Racehorse’: Female Pipings in Eden as Rejoinder to Virginia Woolf’s A Room of One’s Own” In Felsensprengerin, Brückenbauerin, Wegbereiterin. Die Komponistin Ethel Smyth, ed. by Cornelia Bartsch, Rebecca Grotjahn and Melanie Unseld (Beiträge zur Kulturgeschichte der Musik, Vol. 2), 55–69. Munich: Allitera, 2010.

Collis, Louise. Impetuous Heart: The Story of Ethel Smyth. London: William Kimber & Co. Limited, 1984.

Copley, Edith A. “A Survey of the Choral Works of Dame Ethel Smyth with an Analysis of the Mass in D (1891).” D.M.A., University of Cincinnati, Cincinnati 1990.

Dale, Kathleen. “Dame Ethel Smyth,” Music & Letters 25, no. 4 (1944): 191–194.

_____. “Ethel Smyth’s Prentice Works.” Music & Letters 30, no. 4 (1949): 329–336.

_____. “Ethel Smyth: Songs and Chamber Music.” The Listener 59 (19 June 1958): 1033.

_____. “A Personal Recollection“, In Christopher St. John. Ethel Smyth. A Biography. With Additional Chapters by V[ita] Sackville-West and Kathleen Dale, 255–260. London: Longmans, 1959.

_____. “Ethel Smyth’s Music“, In Christopher St. John. Ethel Smyth. A Biography. With Additional Chapters by V[ita] Sackville-West and Kathleen Dale, 288–304. London: Longmans, 1959.

_____. “Ethel Smyth’s Compositions—(i) Published Works. (ii) Unpublished Works“ In Christopher St. John. Ethel Smyth. A Biography. With Additional Chapters by V[ita] Sackville-West and Kathleen Dale, 305–308. London: Longmans, 1959.

Dremel, Erik. “‘All there was in my heart’. Ethel Smyth, ihre Mass in D und ihre Freundschaft zu Pauline Trevelyan.” In Felsensprengerin, Brückenbauerin, Wegbereiterin. Die Komponistin Ethel Smyth, ed. by Cornelia Bartsch, Rebecca Grotjahn and Melanie Unseld (Beiträge zur Kulturgeschichte der Musik, Vol. 2), 201–217. Munich: Allitera, 2010.

D’Silva, Beverley. “Ethel Smyth: An Extraordinary ‘Lost’ Opera Composer.” BBC Culture Online. https://www.bbc.com/culture/article/20220720-ethel-smyththe-rebel-composer-erased-from-history

Farny, Natasha. “‘Worthy of the Canon’: Romantic Cello Sonatas by Women.” College Music Symposium 61, no. 2 (Fall 2021): 68-82.

Farquharson, Linda J., “Dame Ethel Smyth. Mass in D”, D.M.A., University of Illinois, Urbana 1996.

Franca, John. “An Ethel Smyth discovery.” The Strad 91, no. 1090 (1981): 718-19.

Fuller, Sophie. “Unearthing a World of Music: Victorian and Edwardian Women Composers” Women: A Cultural Review 3, no. 1 (1992): 16–22.

_____. “Women Composers During the British Musical Renaissance, 1880-1918.“ Ph. D. diss., King’s College, University of London, 1998.

_____. “Smyth, Dame Ethel (Mary).” The New Grove Dictionary of Music and Musicians 23 (2001): 591–94.

_____. “Representations of British Women Composers” In Music as a Bridge. Musikalische Beziehungen zwischen England und Deutschland 1920–1950, ed. by Christa Brüstle and Guido Heldt (Studien und Materialien zur Musikwissenschaft, vol. 37), 173–186. Hildesheim u. a. 2005.

Fuller-Maitland, J.A. “Smyth, (Dame) Ethel (Mary).” The Grove Dictionary of Music and Musicians 7 (1954): 860–63.

Funk-Hennings, Erika. “Stationen im Leben der Komponistin und Schriftstellerin Ethel Smyth” In LebensBilder. Leben und Subjektivität in neueren Ansätzen der Gender Studies, ed. by Sabine Brombach and Bettina Wahrig, 65–88. Bielefeld: transcript, 2006.

Garay, Kathleen E., “Smyth, Dame Ethel (1858–1944)” In Who’s Who in Gay and Lesbian History. From Antiquity to World War II, ed. by Robert Aldrich and Garry Wotherspoon, 407–408. London/New York: Psychology Press, 2001.

Gates, Eugene. “The Woman Composer Question: Four Case Studies from the Romantic Era.” Ed. D. diss., University of Toronto, 1992.

_____. “Damned If You Do and Damned If You Don’t: Sexual Aesthetics and the Music of Dame Ethel Smyth.” Journal of Aesthetic Education 31, no. 1 (University of Illinois, Spring 1997): 63–71.

Gibbon, Rachel. “The Early Operas of Dame Ethel Smyth (1858-1944): Geneses, Performance, Structure,” 2 vols. PhD diss., University of Manchester, 2005.

Gillett, Paula. Musical Women in England, 1870-1914: “Encroaching on All Man’s Privileges.” New York: St. Martin’s Press, 2000.

Gisbrecht, Nancy. “An Examination of the Operatic Environment in Which Ethel Smyth Composed and Its Effect On Her Career.” M.A. Thesis, University of South Carolina, 1980.

Grotjahn, Rebecca. “Eine Suffragette im Ersten Weltkrieg: Ethel Smyths March of the Women und das King Albert’s Book” In Blickwechsel Ost | West. Gender-Topographien, ed. by Nina Noeske and Melanie Unseld (Jahrbuch Musik und Gender, vol. 2), 161–66. Hildesheim: Olms, 2009.

_____. “Das Komponistinnenparadox. Ethel Smyth und der musikalische Geschlechterdiskurs um 1900.” In Felsensprengerin, Brückenbauerin, Wegbereiterin. Die Komponistin Ethel Smyth, ed. by Cornelia Bartsch, Rebecca Grotjahn and Melanie Unseld (Beiträge zur Kulturgeschichte der Musik, Vol. 2), 39–54. Munich: Allitera, 2010.

Halstead, Jill. The Woman Composer: Creativity and the Gendered Politics of Musical Compositions. Aldershot, England: Ashgate Publishing Limited, 1997.

Hardy, Lisa. The British Piano Sonata, 1870-1945. Woodbridge, Suffolk; Rochester, NY: Boydell Press, 2001.

Harris, Amanda. “Composing Women and Feminism at the Turn of the Twentieth Century in England, France and Germany”, PhD, The University of New South Wales, Sydney 2008.

_____. “‘Comrade’ Ethel Smyth in the ‘great liberative war of women’: An English Musical Feminism“, In Felsensprengerin, Brückenbauerin, Wegbereiterin. Die Komponistin Ethel Smyth, ed. by Cornelia Bartsch, Rebecca Grotjahn and Melanie Unseld (Beiträge zur Kulturgeschichte der Musik, Vol. 2), 70–84. Munich: Allitera, 2010.

_____. “The Smyth-Brewster Correspondence: A Fresh Look at the Hidden Romantic World of Ethel Smyth.” Women and Music: A Journal of Gender and Culture 14, no. 1 (2010): 72–94.

_____. “Recomposing Her History: the Memoirs and Diaries of Ethel Smyth.” Life Writing 8, no. 4 (2011): 421–431.

Hochrathner, Eva. “Ethel Smyth (1858–1944). Die Beziehungen der Komponistin zu Wien im Spiegel ihres Briefwechsels mit Anna Bahr-Mildenburg und Hermann Bahr”, Diplomarbeit, Universität für Musik und darstellende Kunst Wien, Wien 2001.

Hoffmann, Marleen. „Ethel Smyths March of the Women.“ In copy&paste – meins, deins, unsers im gespräch. Symposiumsband zum 23. internationalen studentischen Symposium des DVSM e.V. von 9. bis 12. Oktober 2009 am Institut für Musikwissenschaft der Universität Wien, ed. by Steffen Rother, Sabine Töfferl and Jonas Pfohl, 73–92, Aachen: Shaker, 2011.

_____. “Auf den Spuren einer unbekannten Komponistin. Fundstücke zu Ethel Smyth.” Forum Musikbibliothek 32, no. 4 (2011): 345–355.

_____. „Ethel Smyth (1858–1944) und die BBC – eine zwiespältige Beziehung.“ Musik 2.0. Die Rolle der Medien in der musikalischen Rezeption in Geschichte und Gegenwart. Beiträge zum 24. internationalen studentischen Symposium des DVSM in Detmold 2011, ed. by Marleen Hoffmann, Joachim Iffland and Sarah Schauberger (Beiträge zur Kulturgeschichte der Musik, vol. 4), 86–100, Munich: Allitera, 2012.

_____. “‘Wie ich Suffragette wurde’. Künstlerisches und politisches Selbstverständnis der englischen Komponistin Ethel Smyth (1858–1944).” Gender 4, no. 1 (2012): 90–107.

_____.”‚Die englische Komponistin Ethel Smyth (1858–1944) und das Magazin ‚Time and Tide‘ (1920–1979).” VivaVoce 95 (2013): 2–4.

_____.”‚Ein skandalöses Leben? Die Komponistin und Suffragette Ethel Smyth.” Österreichische Musikzeitschrift 69, no. 6 (2014): 53–8.

_____. “Vorwort zu The Prison.“ In Ethel Smyth, The Prison, Faksimile des Partiturautographs, d. by Musikproduktion Jürgen Höflich ( Study Score 1654), Munich 2015, https://repertoire-explorer.musikmph.de/de/produkt/smyth-ethel-5/

_____. “’Gute Nacht du mein geliebter Mensch’ Die Beziehung zwischen der Komponistin Ethel Smyth und der Sängerin Anna Bahr-Mildenburg.” In Musik und Homosexualität –Homosexualität und Musik, ed. by Kadja Grönke and Michael Zywietz, 119–33. Hildesheim: Olms, 2017.

_____. “Feminismus bläst den Marsch. Ethel Smyth und der Kampf um Frauenrechte.” In Musik und Gesellschaft, Bd. 2: 1840–2020. Vom Vormärz bis zur Gegenwart, ed. by Frieder Reininghaus, Judith Kemp and Alexandra Ziane, 228–230. Würzburg: Königshausen & Neumann, 2020.

_____. “’It Seemed to Me My First Duty to Signify I Was One of the Fighters’: Ethel Smyth’s Two Years of Suffrage Activities and Her Suffrage Music.” In Women’s Suffrage in Word, Image, Music, Stage and Screen: The Making of a Movement, ed. by Christopher Wiley and Lucy Ella Rose, 186–204. Routledge, 2021.

_____. “‘Every woman that comes after me will find it easier’ Die Debatten über Geschlecht und Nationalität als Einflussfaktoren auf Ethel Smyths Selbstbild als Pionierin” In Musikwissenschaft der Vielfalt. Festschrift für Rebecca Grotjahn zum 60. Geburtstag, ed. by Joachim Iffland, Johanna Imm, Nina Jaeschke and Sarah Schauberger, 221–29, Munich: Allitera, 2021.

_____. “‘Die bekannte Suffragette, der einzige Doktor der Musik in England’: Ethel Smyth and her connections to Austria’s artistic circles and women’s suffrage movement.’” In Ethel Smyth, ed. by Christopher Wiley, forthcoming.

_____. “Continental European Connections”, in The Cambridge Companion to Ethel Smyth, ed. by Christopher Wiley, forthcoming.

Höher, Dagmar. “Ethel Smyth (1858–1944). Biographische Notiz” In Komponistinnen in Berlin, ed. by Bettina Brand et al., 205–217. Berlin: Musikfrauen, 1987.

Hughes, Jennifer Gwynn. “Sapphonic Listening: Ethel Smyth’s String Quartet in E minor.” M.A. thesis, University of Virginia, 1995.

Hull, Robin. “Dame Ethel Smyth.” Tempo 7 (1944): 12.

Hunt, Margaret R. “Same-sex Love before Psychopathia Sexualis: Or, What Young Ethel Knew” In Felsensprengerin, Brückenbauerin, Wegbereiterin. Die Komponistin Ethel Smyth, ed. by Cornelia Bartsch, Rebecca Grotjahn and Melanie Unseld (Beiträge zur Kulturgeschichte der Musik, Vol. 2), 161–174. Munich: Allitera, 2010.

Hurd, Michael. “Smyth, Dame Ethel (Mary),” The New Grove Dictionary of Music and Musicians 17 (1980): 425-26.

Hurd, Michael; Linhardt, Marion. “Ethel Smyth” In Pipers Enzyklopädie des Musiktheaters, vol. 5, ed. by Carl Dahlhaus, 738–9. Munich: Piper, 1994.

Hyde, Derek. New-found Voices: Women in Nineteenth-century English Music. Aldershot: Ashgate Publishing Company, 1998.

Jezic, Diane Peacock. Women Composers: The Lost Tradition Found, foreword by Elizabeth Wood. New York: The Feminist Press, 1988.

Jiracek, Pavel B. “Empire zwischen den Zeilen. Eine postkoloniale Perspektive.” In Felsensprengerin, Brückenbauerin, Wegbereiterin. Die Komponistin Ethel Smyth, ed. by Cornelia Bartsch, Rebecca Grotjahn and Melanie Unseld (Beiträge zur Kulturgeschichte der Musik, Vol. 2), 153–60. Munich: Allitera, 2010.

 Johannes Brahms: The Herzogenberg Correspondence, ed. by Max Kalbeck and trans. by Hannah Bryant. New York: E. P. Dutton & Company, 1909.

Johnson, Carl. “Ethel Smyth: The Only Woman Composer Ever to be Heard at the Met. American Music Teacher 31 (1981): 14-17.

Keays, Mary Lee. “Tooting Her Own Horn: Dame Ethel Smyth’s Trio for Horn, Violin and Piano.” DMA diss., University of California – Los Angeles, 2001.

Kertesz, Elizabeth. “The Germanness of English Music―Reflections on the Critical Reception of Ethel Smyth’s Der Wald.” In Aflame with Music. 100 Years of Music at the University of Melbourne, ed. by Brenton Broadstock et al., 79–85. Parkville, Victoria 1996.

_____. “Gender and beyond: Talking about the critical reception of Ethel Smyth.”In Gender Studies & Musik. Geschlechterrollen und ihre Bedeutung für die Musikwissenschaft, ed. by Stefan Fragner, Jan Hemming and Beate Kutschke (Forum Musik Wissenschaft, vol. 5), 65–74, Regensburg, 1998.

_____. “Issues in the critical reception of Ethel Smyth’s Mass and first four operas in England and Germany”, PhD, University of Melbourne, Melbourne 2001.

_____. “Smyth, Dame Ethel Mary (1858–1944).” Oxford Dictionary of National Biography. From the Earliest Times to the Year 2000, ed. by Henry Colin Gray Matthew and Brian Harrison, 432–5. Oxford 2004.

_____. “At Home and Abroad: The Critical Reception of Ethel Smyth’s Operas in England and Germany” In Musicology and Sister Disciplines. Past, Present, Future. Proceedings of the 16th International Congress of the International Musicological Society, ed. by David Greer, Reprint London 1997, 657–8. Oxford 2006.

_____. “Creating Ethel Smyth: Three Variations on the Theme of Struggle.“ In Felsensprengerin, Brückenbauerin, Wegbereiterin. Die Komponistin Ethel Smyth, ed. by Cornelia Bartsch, Rebecca Grotjahn and Melanie Unseld (Beiträge zur Kulturgeschichte der Musik, Vol. 2), 98–107. Munich: Allitera, 2010.

Kiupel, Birgit. “Lebenslange Leidenschaften. Ethel Smyth (1858–1944).” In Frauengeschichten. Berühmte Frauen und ihre Freundinnen, ed. by Joey Horsley and Luisa F. Pusch, 92–134. Göttingen: Wallstein, 2010.

Lee, Alison M., “Smyth, Ethel.“ In British Women Writers. A Critical Reference Guide, ed. by Janet M. Todd, 627–9. New York: Continuum, 1989.

Lee, Ean-Ju. “A Stylistic Analysis of Ethel Smyth’s Sonata Cycle, Works for Piano, and Chamber Music with Piano.” DMA diss., University of Houston, 2008.

Lievenbrück, Berthild. “Who is aware of Ethel Smyth? Spielräume einer streitbaren Komponistin” In Musik.Frau.Sprache, ed. by Annette Kreutziger-Herr and Kathrin Beyer (Beiträge zur Kultur- und Sozialgeschichte der Musik, vol. 5), 323–42. Herbolzheim: Centaurus, 2003.

Luedeke, Janiece Marie. “Dame Ethel Smyth’s Concerto for Violin, Horn, and Orchestra. A Performance Guide for the Hornist”, D.M.A., Louisiana State University and Agricultural and Mechanical College, Baton Rouge 1998.

Lumsden, Rachel. “’The Music Between Us’: Ethel Smyth, Emmeline Pankhurst, and ‘Possession.’” Feminist Studies 41, no. 2 (2015): 335-370.

_____. “Ethel Smyth, The Boatswain’s Mate (1913-1913): A Wrinkle? Gender and Motive in Ethel Smyth’s The Boatswain’s Mate.” Analytical Essays on Music by Women Composers, edited by Laurel Parsons and Brenda Ravenscroft (Oxford University Press, 2022).

Marcus, Jane. “Storming the Toolshed.” Feminist Theory 7/3 (Spring 1982): 622-640.

Marquardt, Bettina (Ed.). “Vorwort.” In Ethel Smyth, Streichtrio op. 6 für Violine, Viola und Violoncello, 2–5, Kassel: Furore, 2009.

Mercier, Anita and Susan Pickett. “Ethel Smyth: String Quartet in E minor (1912).” In Women Composers: Music Through the Ages, Vol. 8: Large and Small Ensembles, ed. by Sylvia Glickman and Martha F. Schleifer, 303-307. Farmington Hills, MI: Thomson Gale, 2006.

Millington, Hannah. “’1910’: Ethel Smyth’s Unsung Suffrage Song.” The Musicology Review 10 (November 2021): 55-76.

_____. “‘An Individual, not an Echo’: Identity and Expression in the Early Works of Dame Ethel Smyth (1858-1944).” PhD diss., Dublin City University, 2024.

Mockus, Martha. “A Source Study of the Original Version of Ethel Smyth’s The Boatswain’s Mate”, M.Mus., University of London, King’s College, London 1988.

Nelson, Trevor. “The Dissident Dame: Alternative Feminist Methodologies and the Music of Ethel Smyth.” MA thesis, Michigan State University, 2016.

Neules-Bates, Carol, ed. Women in Music: An Anthology of Source Readings From the Middle Ages to the Present. New York: Harper & Row Publishers, 1982.

O’Toole, Sean. “The Letters of Ethel Smyth to Edith Somerville, 1918-1921: A Chronicle of Desire.” Journal of the History of Sexuality 29, no. 2 (2020): 253-280.

Parsons, Donna Sue. “Their Voices Sing True and Clear. British Women Musicians and Their Literary Counterparts 1860–1920”, PhD, University of Iowa, Iowa City 2001.

Raitt, Suzanne. “‘The Tide of Ethel’: Femininity as Narrative in the Friendship of Ethel Smyth and Virginia Woolf” In Critical Quarterly 30, no.4 (December 1988): 3–21.

_____. “The Singers of Sargent: Mabel Batten, Elsie Swinton, Ethel Smyth” Women: A Cultural Review 3,no. 1 (June 1992): 23–29.

Robinson, Suzanne. “Smyth the Anarchist: Fin-de-siècle Radicalism in The Wreckers.” Cambridge Opera Journal 20, no. 2 (July 2008): 149-179.

Sackville-West, Vita. “Ethel Smyth the Writer” In Christopher St. John. Ethel Smyth. A Biography. With Additional Chapters by V[ita] Sackville-West and Kathleen Dale, 245–50. London: Longmans, 1959.

Sackville-West, Edward. “Ethel Smyth as I Knew Her” In Christopher St. John, Ethel Smyth. A Biography. With Additional Chapters by V[ita] Sackville-West and Kathleen Dale, 250–5. London: Longmans, 1959.

Salomon, Eva-Maria. “Die Messe in D von Ethel Smyth. Ein wenig bekanntes Beispiel in der Gattungstradition des 19. Jahrhunderts.” Staatsexamensarbeit, Musikhochschule Lübeck, Lübeck 1991.

Schaarwächter, Jürgen. “A British Choral Symphony? Ethel Smyth’s The Prison in Context” In Felsensprengerin, Brückenbauerin, Wegbereiterin. Die Komponistin Ethel Smyth, ed. by Cornelia Bartsch, Rebecca Grotjahn and Melanie Unseld (Beiträge zur Kulturgeschichte der Musik, Vol. 2), 250–9. Munich: Allitera, 2010.

Schau, Kate. “‘This is No Leave-Taking’: Autobiography and Legacy in Ethel Smyth’s The Prison.” Master’s thesis, University of Oregon, 2022.

Seddon, Laura. “The Instrumental Music of British Women Composers in the Early Twentieth Century”, PhD, City University, London 2011.

_____. British Women Composers and Instrumental Chamber Music in the Early Twentieth Century. London: Ashgate, 2013.

Shannon, Mary. “Dame Ethel Smyth and The Prison: Gender, Sexuality and the ‘Bonds of Self.'” Honors thesis, William and Mary College, 2021.

Silberbauer, Angelika. “Körper aus Zeichen. Somateme in Ethel Smyths Three Moods of the Sea”, Diplomarbeit, Universität für Musik und darstellende Kunst Wien, Wien 2013.

_____. “‘… quite familiar – for an English Opera.’ Europäische Musikgeschichte als Ergebnis von Übersetzungsprozessen am Beispiel von Ethel Smyth (1858–1944)” In Performing Translation. Praktiken des Wissens in/um Musik – Theater – Film. Tagungsband des zweiten kulturwissenschaftlichen Symposions für Dissertant_innen an der mdw –Universität für Musik und darstellende Kunst Wien vom 26.–28. März 2014, ed. by Thomas Glaser, Angelika Silberbauer and Annegret Huber, 73–87. Wien 2018.

_____. Die Kultur der Anderen. Ethel Smyths (1858–1944) Strategien zur (Selbst-)Positionierung als britische Nationalkomponistin. Münster: Waxmann, 2025.

Smyth, Ethel. Impressions That Remained, vols. I and II. London: Longmans, Green and Co., Ltd., 1919. Reprint New York: Alfred A. Knopf, 1946.

_____. Streaks of Life. London: Longmans, Green and Co., 1921.

_____. A Three-Legged Tour in Greece. London: William Heinemann Ltd, 1927.

 _____. A Final Burning of Boats. London: Longmans, Green and Co., 1928.

 _____. Female Pipings in Eden. London: P. Davies Ltd., 1934.

 _____. Beecham and Pharaoh. London: Chapman and Hall, Ltd., 1935.

 _____. As Time Went On … London: Longmans, Green and Co., 1936.

_____. Inordinate (?) Affection: A Story for Dog Lovers. Cresset Press, 1936.

_____. Maurice Baring. London, William Heinemann Ltd, 1938.

_____. What Happened Next. London: Longmans, Green and Co., 1940.

_____. The Memoirs of Ethel Smyth. Abridged and introduced by Ronald Crichton, with a chronological listing of works compiled by Jory Bennett. New York: Viking Press, 1987.

Solie, Ruth A., ed. Musicology and Difference: Gender and Sexuality in Music Scholarship. Berkeley: University of California Press, 1993.

Sparre, Sulamith. ‘Man sagt, ich sei ein Egoist. Ich bin eine Kämpferin’. Dame Ethel Mary Smyth (1858–1944) Komponistin, Dirigentin, Schriftstellerin, Suffragette (Widerständige Frauen, vol. 10), Lich: Ed. AV 2010.

St. John, Christopher. Ethel Smyth: A Biography. London: Longmans, 1959. With appendices by Edward Sackville-West, Vita Sackville-West, and Kathleen Dale.

Steeb, Kerstin. “‘Ich würde es wieder tun‘. Eine künstlerische Auseinandersetzung mit Brahms’ Kollegin Ethel Smyth” Brahms-Studien 19 (2021): 340–354.

Thomson, Aidan J., “Decadence in the Forest: Smyth’s Der Wald in its Critical Context.” In Felsensprengerin, Brückenbauerin, Wegbereiterin. Die Komponistin Ethel Smyth, ed. by Cornelia Bartsch, Rebecca Grotjahn and Melanie Unseld (Beiträge zur Kulturgeschichte der Musik, Vol. 2), 218–49. Munich: Allitera, 2010.

Tovey, Donald Francis. Essays in Musical Analysis: Vol. V, Vocal Music. London: Oxford University Press, 1937.

Unseld, Melanie. “Ethel Smyth.” In MUGI. Musikvermittlung und Genderforschung: Lexikon und multimediale Präsentationen, ed. by Beatrix Borchard and Nina Noeske, Hochschule für Musik und Theater Hamburg, 2003ff., 26 May 2004, <https://mugi.hfmt-hamburg.de/receive/mugi_person_00000776>

_____. “Smyth, Ethel (Mary)” MGG2, Personenteil, vol. 15, Kassel 2006: 984–6.

_____. “Identität durch Schreiben. Ethel Smyth und ihre autobiographischen Texte” In Felsensprengerin, Brückenbauerin, Wegbereiterin. Die Komponistin Ethel Smyth, ed. by Cornelia Bartsch, Rebecca Grotjahn and Melanie Unseld (Beiträge zur Kulturgeschichte der Musik, Vol. 2), München: Allitera, 2010, 108­–120.

Vet, Ronald de. “Čajkovskij und Ethel Smyth im Briefwechsel.” Tschaikowsky-Gesellschaft Mitteilungen 20 (2013): 182–9.

Vysin, Elizabeth. “The Cello Sonatas of Dame Ethel Smyth: A Musical Analysis with Social and Feminist Commentary.” DMA diss., The Hartt School, University of Hartford, 2023.

Wiley, Christopher. “’When a Woman Speaks the Truth About Her Body’: Ethel Smyth, Virginia Woolf, and the Challenges of Lesbian Auto/Biography.” Music & Letters 85 (2004): 388-414.

_____. “Re-Writing Composers’ Lives: Critical Historiography and Musical Biography.” PhD, University of London, London 2008.

_____. “Music and Literature: Ethel Smyth, Virginia Woolf, and ‘the First Woman to Write an Opera.’” The Musical Quarterly 96 (2013): 263-95.

_____. “Ethel Smyth, Suffrage, and Surrey: From Frimley Green to Hook Heath, Woking.” Women’s History: The Journal of the Women’s History Network, Special Issue: 1918-2018 2, no. 11 (2018): 11-18.

_____. “A Fresh Start and Two (More) Portraits: Theatrical Shows on the Life and Work of Ethel Smyth for 2018.” Women’s History: The Journal of the Women’s History Network, Special Issue: 1918-2018 2, no. 11 (2018): 39-40.  

_____. “Ethel Smyth, Music and the Suffragette Movement: Reconsidering The Boatswain’s Mate as Feminist Opera.” In Women’s Suffrage in Word, Image, Music, Stage and Screen: The Making of a Movement, ed. by Christopher Wiley and Lucy Ella Rose.  Routledge, 2021.

_____. “The Statue of Dame Ethel Smyth (1858-1944) in Dukes Plaza, Woking.” Women’s History Review (2022): 1-11.

_____. Ethel Smyth, forthcoming.

_____. The Cambridge Companion to Ethel Smyth, forthcoming.

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_____.“Gender and Genre in Ethel Smyth’s Operas.” In The Musical Woman, Vol. 3, ed. by Zaimont, Overhauser, and Gottlieb. Westport, Conn.: Greenwood Press, 1991.

______. “Lesbian Fugue: Ethel Smyth’s Contrapuntal Arts.” Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. by Ruth A. Solie. Los Angeles: University of California Press, 1993.

______. “Sapphonics.” In Queering the Pitch: The New Gay and Lesbian Musicology, ed. by Philip Brett, Elizabeth Wood, and Gary Thomas. New York: Routledge Press, 1994.

_____. “The Lesbian in the Opera: Desire Unmasked in Smyth’s Fantasio and Fete Galante.” En Travesti: Women, Gender Subversion, Opera, ed. by Corrine E. Blackmer and Patricia Juliana Smith (Columbia University Press, 1995), 285-305.

______. “Performing Rights: A Sonography of Women’s Suffrage.” The Musical Quarterly, 79, no. 4 (1995): 606-643.

______. “On Deafness and Musical Creativity: The Case of Ethel Smyth.” The Musical Quarterly, 92 (2009): 33-69.

_____. The Story of Two English Rebels, Vernon Lee and Ethel Smyth. Uploaded to YouTube by NYU Florence, March 12, 2018. https://youtu.be/xv6-AmItedc

Woodall, Natalie Joy. “Ethel Mary Smyth” In An Encyclopedia of British Women Writers, ed. by Paul Schlueter and June Schlueter,  New Brunswick, NJ 1998: 584–6.

Yatsyuk, Sofia. “Women Composers and Their Critics in the Era of First-Wave Feminism: Gender and the Classical Music Canon in Britain, 1850-1950.” DMA diss., McGill University, 2024.

Zigler, Amy. “Four Romantic Chamber Works by Ethel Smyth (1858-1944).” Journal of the International Alliance for Women in Music 14, no. 1 (2008): 8-14.

_____. Selected Chamber Works of Dame Ethel Smyth. PhD diss., University of Florida, 2009.

_____. “‘You and I Will Be Like the Monk Dante Meets in Hell’: Literary References and Autobiography in Ethel Smyth’s Sonata in A Minor for Violin and Piano, Op. 7 (1887).” In Nineteenth-Century Programme Music: Creation, Negotiations, Reception, ed. by Jonathan Kregor, 233-255. Turnhout: Brepols, 2018.

_____. “’What a Splendid Chance Missed!’: Dame Ethel Smyth’s Der Wald at the Met.” The Opera Journal 54, no. 2 (December 2021): 109-163.

_____. Review of Ethel Smyth’s Serenade in D major for Orchestra, edited by John L. Snyder (A-R Editions, 2021), Nineteenth-Century Music Review (published online 6 September 2022). https://www.doi.org/10.1017/S1479409822000325.

_____. “‘Perhaps what men call a sin…’: An Examination of Ethel Smyth’s The Prison.” In Women Composers in New Perspectives, 1800-1950: Genres, Contexts, and Repertoire, ed. by Mariateresa Storino and Susan Wollenberg, 213-234. Turnhout: Brepols, 2023.

_____. “The Wreckers Storms Houston!” Women’s Philharmonic Advocacy, https://wophil.org/the-wreckers-storms-houston/