The following handouts contain information about lead-sheet notation.
http://www.uvm.edu/~dfeurzei/109_old/materials/lead_symbols.pdf
http://openmusictheory.com/Graphics/Handouts/LSandFBsymbols.pdf
http://musictheory.pugetsound.edu/mt21c/LeadSheetSymbols.html
Louise Reichardt was
the daughter of J. F. Reichardt and his wife, Juliane. Decidedly middle
class, Louise received some informal education from her father and
family friends but was primarily self-taught. Many prominent figures in
the German Romanticism movement, such as the Grimm brothers, Joseph von
Eichendorff, and Ludwig von Arnim, were frequent guests at the Reichardt
home and were known to have admired Louise’s song settings and singing
ability. In 1809, she settled in Hamburg, where she made a living as a
singing teacher; she also organized and directed a women’s chorus. She
played a significant role in the formation of the German choral
movement, a driving force in nineteenth-century musical nationalism. She
composed more than 75 songs and choral pieces, running the gamut of
styles. Many of them evoke folk characteristics, with their lyrical
melodies and simple piano accompaniments.
See also:
Matthew Head. Sovereign Feminine: Music and Gender in Eighteenth-Century Germany. Berkeley: University of California Press, 2013.
Matthew Head. Sovereign Feminine: Music and Gender in Eighteenth-Century Germany. Berkeley: University of California Press, 2013.
Diane P. Jezic. Women Composers: The Lost Tradition Found. New York: The Feminist Press at the City University of New York, 1988.
