reason for continuing her studies comparatively late in life: “As a member of the American Music Guild, I had the opportunity to measure my powers and my limitations with those of my colleagues....The result was a period of study in Europe. This time I decided in Paris I would find the kind of work and musical environment for which I was seeking.” Bauer's studies at the Paris Conservatory, however, were cut short in 1926 when she received the news that her sister Emilie had been hit by a car. Bauer returned to New York, but Emilie's injuries ultimately proved fatal. Career Although Bauer had never earned a college degree (despite her years of study), in September 1926, she was hired as an instructor for New York University's music department, becoming their first female music faculty. Among her early colleagues were Albert Stoessel, Gustave Reese, and Percy Grainger. During her tenure at NYU from 1926–1951, Bauer taught classes in composition, form and analysis, aesthetics and criticism, and music history and appreciation, earning the rank of associate professor in 1930. Bauer taught using her own book, the readings from which would then be followed by class discussions. She also advocated strongly for new music and would play “the few pertinent records and piano rolls available,” or have students play unavailable works. Some of her most famous students from her years at NYU included Milton Babbitt, Julia Frances Smith, Miriam Gideon, and conductor Maurice Peress. In addition to teaching at NYU, Bauer lectured at Juilliard and Columbia University. She also lectured annually at the Chatauqua Summer Music Institute in Chautauqua, New York, putting on lecture-recitals of twentieth-century music with pianist Harrison Potter throughout her career. Potter performed Bauer's piano music in other settings as well, including concerts put on by the League of Composers, the WPA Federal Music Project, the MacDowell Club, and Phi Beta National Fraternity of Music and Speech. Schmidt and Bauer, although maintaining a close relationship, notably disagreed on style. It is inferred that when Bauer's seven-year contract was about to expire, Schmidt requested that Bauer simplify her compositional style, as indicated by Bauer's response to his correspondence: “It is not stubbornness on my part not to write simple things. I can only write what I feel–and someday (soon I hope) I shall learn to do the big simple thing. I must do my work in steps–evolutionary, not revolutionary. I