have so little time to write that naturally change of style is slow.” It is also possible that the experience of having her Violin Sonata (later published under the title Fantasia Quasi Una Sonata) demoted from first to second place in the 1928 Society for the Publication of American Music competition expressly for its "modernist tendencies" led Bauer to adopt a comparatively conservative style of composition. Bauer did, however, play a significant role in the development of non-tertian harmony in American music. Along with Ernest Bloch, Bauer was one of the first American composers to experiment with quintal harmony, or harmony based on stacked fifths, as demonstrated in her 1926 solo piano version of Sun Splendor and her writings about it. The development of this harmonic technique in turn influenced the music of Aaron Copland. Notable collaborations and performances During her lifetime, Bauer's music was well received by performers, critics, and the public alike. Virtuoso violinist Maud Powell commissioned “Up the Ocklawaha” in 1912, an impressionistic work for violin and piano that programmatically reflected Powell's own excursion on the Ocklawaha River in north central Florida. Up the Ocklawaha was subject of much praise upon its premiere. In 1915 and 1916, respected opera singers May Dearborn-Schwab, Mary Jordan, and Elsa Alves were featured on two all-Bauer programs presented in New York, accompanied by Bauer herself. The 1916 performance featured twenty of Bauer's songs, and received a favorable review in The Musical Leader. By virtue of her activities in various composition circles, particularly the League of Composers and the New York Composer's Forum, Bauer was well-situated to have even her larger-scale, more resource-intensive works performed. Notably, Bauer was the second woman to have her work performed by the New York Philharmonic–Leopold Stokowski conducted the premiere of Bauer's Sun Splendor at Carnegie Hall in 1947. Despite its premiere with the New York Philharmonic, though, Sun Splendor was never published in any of its forms–as a piano solo, duet, or orchestral piece–and the only recording currently available is that of the original performance, housed in the New York Philharmonic Archives. An event Bauer herself considered one of the highlights of her entire career was the May 8, 1951 New York Town Hall concert devoted exclusively to her music. Sponsored by the Phi Beta fraternity at the time of Bauer's retirement from NYU, the works performed that day spanned her entire career and included two