part of the musical canon are from genres regarded as the most serious, such as the symphony, concerto, string quartet, and opera. Folk music was already giving art music melodies, and from the late 19th century, in an atmosphere of increasing nationalism, folk music began to influence composers in formal and other ways, before being admitted to some sort of status in the canon itself. Since the early twentieth century non-Western music has begun to influence Western composers. In particular, direct homages to Javanese gamelan music are found in works for western instruments by Claude Debussy, Béla Bartók, Francis Poulenc, Olivier Messiaen, Pierre Boulez, Benjamin Britten, John Cage, Steve Reich, and Philip Glass. Debussy was immensely interested in non-Western music and its approaches to composition. Specifically, he was drawn to the Javanese gamelan, which he first heard at the 1889 Paris Exposition. He was not interested in directly quoting his non-Western influences, but instead allowed this non-Western aesthetic to generally influence his own musical work, for example, by frequently using quiet, unresolved dissonances, coupled with the damper pedal, to emulate the "shimmering" effect created by a gamelan ensemble. American composer Philip Glass was not only influenced by the eminent French composition teacher Nadia Boulanger, but also by the Indian musicians Ravi Shankar and Alla Rakha, His distinctive style arose from his work with Shankar and Rakha and their perception of rhythm in Indian music as being entirely additive. In the latter half of the 20th century the canon expanded to cover the so-called Early music of the pre-classical period, and Baroque music by composers other than Bach and George Frideric Handel. including Antonio Vivaldi, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, François Couperin, Heinrich Schütz, and Dieterich Buxtehude. Earlier composers, such as Giovanni Pierluigi da Palestrina, Orlande de Lassus and William Byrd, have also received more attention in the last hundred years. The absence of women composers from the classical canon was brought to the forefront of musicological literature in the late twentieth and early twenty-first centuries. Even though many women composers have written music in the common practice period and beyond, their works remain extremely underrepresented in concert programs, music history curriculums, and music anthologies. In particular, musicologist Marcia J Citron has examined "the practices and attitudes that have led to the exclusion of women composers from