- Author of two-volume book Women Composers: A checklist of works for solo voice cataloguing over 3700 female composers of 74 nationalities from the beginning of recorded history
- Work lauded as the he most comprehensive source of its kind
- Wide critical acclaim for her vocal performances with the Symphonies of Cleveland, St. Louis, Chicago, and Oklahoma City
- Vocalist for the New York City Opera, Broadway productions, and international recitals in Germany, Wales, Canada, and Mexico.
- Hosted national conference on women in music at KU
- Well known for her artistic insight and innovative approaches to performing and teaching
Miriam Stewart Green was a nationally and internationally acclaimed performer, a professor of Voice, and an impressive and insightful researcher and recitalist. We can also thank this gifted soprano for her dilligent work as a champion of recognizing women in the music world.
Ms. Green came to the University of Kansas in 1958 to teach Voice in the Department of Music. Her BA in Voice was received from the Cleveland Institute of Music. Prior to arriving at Kansas, she taught at the University of the Pacific, Albion College, and the University of Iowa.
She came to KU with an extensive resume including performances with the New York City Opera, Broadway productions, and international recitals in Germany, Wales, Canada, and Mexico. She was a popular performer on national air radio networks for her operatic reviews. Ms. Green’s recordings and performances with the Symphonies of Cleveland, St. Louis, Chicago, and Oklahoma City and with the Chicago Symphony String Ensemble all garnered wide critical attention.
One photo poster advertising one of her performances declared the soprano “free and flexible in technique,” “warm and lustrous, wide in range,” “artistic insight, strong in dramatic sense,” with “versatility, artistry, dynamic personality,” and “genuinely exciting.”
As a professor and performer, Ms. Green was well known for her artistic insight and innovative approaches. For one faculty recital, she created a set of watercolor paintings which she then re-illustrated in song. About the inspiration for this piece, she stated, “Paintings constitute a visual and intellectual link between the mood and meaning of the song, and the listener.”
Perhaps Ms. Green’s greatest contribution to the field was her work on women in the musical world. She published an article entitled “Women: From Silence to Song by Miriam Green” and hosted a national conference on women in music at KU, and she was a popular national and international lecturer and recitalist on women’s art-song compositions. Her most significant work, however, was her masterpiece “Women Composers: A checklist of works for solo voice” published in 1980. This giant two-volume book was divided into six major coategories: songs, operas, oratorios, cycles, solo voices with instruments, and dramatic scenes. It catalogued more than 3,700 female composers representing 74 nationalities over the entire history of music composition. It even included some pre-Christian women composers from Greece, Egypt, and the Mediterranean. Not only did Ms. Green have to overcome problems with translating the various languages presented into English and making them ‘singable’, she also had to undertake a massive research challenge since many of the women had written music under many different names due to the challenges of being a female composer. The work was easily the most comprehensive source of its kind.
After 28 years at KU, Ms. Green retired in 1985. She died in Lawrence at the age of 85 on December 16, 2000.