| 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 |
| 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 |
| • | Introduction: Music Patronage As a "Female-Centered Cultural Process" |
| • | One— Patronage—and Women—in America's Musical Life: An Overview of a Changing Scene |
| • | 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 |
| Contributors |
| Index |