| Cultivating Music in America |
| Acknowledgments |
 | Introduction: Music Patronage As a "Female-Centered Cultural Process" |
 | One— Patronage—and Women—in America's Musical Life: An Overview of a Changing Scene |
| • | The Development of America's Musical Institutions |
| • | Patronage: Individuals and Foundations |
| • | The "Domestic Sphere"? Women and Music in Home and Club |
| • | The Rise of the Woman Musician |
| • | Toward a Typology of Music Patronage |
| • | The Woman Musician and Woman Patron Today |
| • | Vignette A— Women and Church Organs: 1830s–1860s |
| • | Vignette B— The "Grand Composers" of the Present Day: Betty Freeman Discusses How She Chooses and Supports Them |
| Two— Women As "Keepers of Culture": Music Clubs, Community Concert Series, and Symphony Orchestras |
| Three— Living with Music: Isabella Stewart Gardner |
| Four— Jeannette Meyer Thurber (1850–1946): Music for a Democracy |
| Five— Laura Langford and the Seidl Society: Wagner Comes to Brooklyn |
| Six— A Style of Her Own: The Patronage of Elizabeth Sprague Coolidge |
| Seven— "As Large As She Can Make It": The Role of Black Women Activists in Music, 1880–1945 |
| Eight— Women Patrons and Crusaders for Modernist Music: New York in the 1920s |
| Nine— Culture, Feminism, and the Sacred: Sophie Drinker's Musical Activism |
| Ten— Reflections on Art Music in America, on Stereotypes of the Woman Patron, and on Cha(lle)nges in the Present and Future |
| Notes |
| Contributors |
| Index |