Returning to the U.S. in 1923 (according to the biographical notes she provided in a Composers’ Forum concert program), she studied at the Mannes College of Music, receiving two degrees by 1928. She taught piano to support herself, and may have taught at Greenwich House Music School, but struggled to make ends meet, resorting at times to WPA work and Ladies’ Home Aid. In the late 1920s or early thirties she began studying with Ruth Crawford, Charles Seeger, and Dane Rudhyar and in 1934 took Henry Cowell’s percussion class at the New School for Social Research.
Her musical life during these years was intertwined with Seeger, Crawford, Cowell, John Cage, and others in this modernist circle such as Jessie Baetz, a now-forgotten composer and painter who studied with Beyer. Though she was largely ignored as a composer, even by the experimental music community in New York, she did have a number of important performances. The first was at the New School for Social Research in 1933, where her Three Songs for Soprano, Piano, and Percussion were performed. A year later, the second movement from her Suite for Clarinet and Bassoon, performed in one of Henry Cowell’s New Music Society of California concerts in San Francisco, was perceived as a “doleful dull duet.” Aaron Copland reviewed a New Music Quarterly Recording of the movement. In 1936 her skills in multiple media came to the fore in her play, The Modern Composer, for which she wrote the lyrics, composed the incidental music, choreographed the modern ballet, designed and created the costumes, slides, and advertisements, directed the production, and performed the piano part.
The play was performed under the auspices of the Federal Music Project at the Central Manhattan Music Center, but manuscript sources for it have not yet been found. Her music was performed twice in the New York Composers' Forum, in 1936 and 1937. Perhaps Beyer’s most important and overlooked contribution to the development of new music is her repertoire for percussion ensemble. The Percussion Suite of 1933 is one of the earliest examples in this genre and differs from those of her contemporaries in that it “explores the understated and quiet expressive possibilities of percussion.” Other percussion pieces from the 1930s include IV (1935), the March for Thirty Percussion Instruments (1939), which Kennedy calls one of the “most gorgeous orchestrations for percussion ensemble ever composed,” and the Three Movements for Percussion (1939). All of her percussion music is distinguished from that of her contemporaries by its sense of humor, and “emphasis on process over more purely rhythmic exploration.” She died in New York, New York, in 1944.
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