previously unperformed works: the Dance Sonata, Op. 24 (1932) for dancer and piano (later expanded and revised as Moods for solo piano) and Trio Sonata II for flute, cello, and piano. The concert was reviewed by Olin Downes of the New York Times, who wrote positively of the event : “The music is prevailingly contrapuntal and dissonance is not absent. Yet the fundamental concept is melodic, the thinking clear and logical, the sentiment sincere and direct.” Criticism Some music critics during Bauer's lifetime promoted a divide between “masculine” and “feminine” music, even with the increase of women in the composition field around the turn of the century. Reviews of Bauer's larger, more intellectual pieces exemplify this phenomenon; the pieces were well-received, albeit in terms of being "masculine." For instance, in his review of the 1928 premiere of Bauer's String Quartet, William J. Henderson wrote: “Those who like to descant upon the differences between the intellect of woman and that of man must have found themselves in difficulties while listening to Miss Bauer’s quartet. It is anything but a ladylike composition. This does not mean that it is rude, impolite or vulgar, but merely that it has a masculine stride and the sort of confidence which is associated in one’s mind with the adventurous youth in trousers.” One of the most pointed criticisms leveled at Bauer's work pertains to her books. As musicologist Susan Pickett points out regarding How Music Grew: From Prehistoric Times to the Present Day, “[T]oday’s reader would take offense with several vulgar racial stereotypes. 'African' and 'savage' were used interchangeably. Arabs were 'barbarians.' Chinese and Japanese were 'yellow races,' and so forth.” Indeed, in 1975, Ruth Zinar published an article surveying racial stereotypes in music books recommended for children, and reserved her most stinging criticism for Bauer's work: “Of all the books studied, Marion Bauer's and Ethel Peyser's How Music Grew from Prehistoric Times to the Present Day must be considered to be the most overtly offensive, in addition to be replete with inaccuracies.” Later editions were, however, edited to be more sensitive to issues of race. Personal life Personality By the recollections of friends, colleagues, and students, Bauer was a kindhearted, good-humored person, who treated others with warmth, compassion, and generosity. Milton Babbitt also recalls in his introduction to the 1978 edition of Twentieth Century Music how he and his classmates referred to Bauer “not derisively