喻辉，云南大学特聘教授、博士研究生导师、艺术与设计学院院长，英国皇家文艺学会会士（Follow of RSA），国家社科基金艺术学重大项目首席专家，美国威斯理安大学民族音乐学专业哲学博士（2000），浙江省“千人计划”海外特聘专家。现任亚洲音乐学会共同会长，英文国际音乐期刊《亚洲音乐学》共同主编，中国东方音乐学会秘书长、副会长。先后在国内外A&HCI、SSCI、SCI、CSSCI收录期刊发表中英文论文50余篇，在包括劳特里奇出版社和牛津大学出版社在内的国内外出版社出版著作5本，主编丛书3套。为新版《格罗夫乐器辞典》特约撰稿人，牛津大学出版社《牛津学科手册：中国音乐》共同主编。

　　《女性音乐作品》回顾了从古至今女性对音乐艺术的影响，总结了不同文明国度里女性的创作以及女性音乐作品同男性作品相比较的历史地位。作者亚瑟·埃尔森（Arthur Elson，1873-1940）是20世纪初一位著名的音乐学家，他对女性音乐作品的研究奠定了该研究领域的重要基础。该书的出版纠正了另一位美国新英格兰地区研究者George P.Upton在其《音乐中的女性》（Woman in Music）一书中所声称的“女性因智力的原因不容易抓住音乐作品中的精细点”的观点，为20世纪70年代以后出现的大量女性作品的研究开启了新的视野。埃尔森还先后出版了《美国作曲家》（American Composers）、《音乐知识》（The Book of Musical Knowledge）、《歌剧历史评述》（A Critical History of Opera）、《当代欧洲作曲家》（Modern Composers of Europe）、《管弦乐队乐器及其使用》（Orchestral Instruments and Their Use）等十几本音乐专著。

　　《女性音乐作品》：
　　The earliest inferences of woman's influence in musicare to be drawn from the Hindoo mythology.Accordingto the tabular schedule of all knowledge， which is foundin the ancient Brahmin records， music as an art belongs in the second chief division of lesser sciences， but on its mathematical and philosophical sides it is accorded a much higher position， and is treated ofin the oldest and most sacred Hindoo work， the Veda. This authority tells us that when Brahma had lain in the original egg some thousand billion years ago， he split it by the force of his thought， and made heaven and earth from the two fragments. After this， Manu brought into being ten great forces， whence came all the gods，goddesses， good and evil spirits. Among the lesser deities were the genii of music （Gandharbas） and those of the dance （Apsarasas）， who furnished entertainment for the gods before man possessed the art.
　　About this time the female element began to assert itself.At Brahma's command， his consort， Sarisvati， goddess of speech and oratory， brought music to man， incidentally giving the Hindoos their finest musical instrument， the vina. The demigod Nared became the protector of the art， but Maheda Chrishna performed a more material service by allowing five keys， or modes， to spring from his head， in the shape of nymphs， while his wife， Parbuti， produced one more. Then Brahma helped the cause along by adding thirty lesser keys，or modes， all of them in the form of nymphs.
　　These modes varied in character， some of them being too fiery to be attempted by mortals. It is related that Akbar，the emperor， once ordered the famous singer， Naik Gobaul，to sing the Raagni， or improvisation， of the mode of fire. The poor singer entreated for a less dangerous task， but in vain.Then he plunged up to his neck in the waters of the river Jumna， and began. Before he had finished half of the song，the water around him began to boil. He paused， but， finding the emperor's curiosity relentless， continued the strain， until at the close his body burst into fiames and was consumed. Another melody caused the formation of clouds and the fall of rain，and a female singer is said once to have saved Bengal from drought and famine by means of this lay. Many other refrains had a similar power over the forces ofnature； one could make the sun disappear and bring on night at midday， while others could change winter to spring， or rain to sunshine.
　　……

Chapter
Ⅰ．ANCIENT AND MYTHICAL
Ⅱ．MEDIAEVAL
Ⅲ．WIVES OF THE COMPOSERS
Ⅳ CLARA AND ROBERT SCHUMANN
Ⅴ OTHER MUSICAL ROMANCES
Ⅵ．ENGLAND
Ⅶ．GERMANY
Ⅷ．FRANCE
Ⅸ．AMERICA
Ⅹ．OTHER COUNTRIES
Ⅺ．CONCLUSION
Ⅻ．APPENDIX
ⅩⅢ．FOOTNOTES