Edith Borroff (b. 1925) received her education at Oberlin Conservatory, the American Conservatory of Music and the University of Michigan. She has taught at Hillsdale College, University of Wisconsin at Milwaukee and has been professor of music at Eastern Michigan University since 1966. Her areas of research have centered on 17th-century French chamber music, American and contemporary music. Borroff also holds an interest in education and has contributed to many educational journals. She became the contemporary music critic for the Ann Arbor News in 1966. She authored the book Three American Composers (Pub. Univ Press of America, 1986) which traces the power shift from the apprentice/conservatory system of
training composers to the university system, which took place in the
United States from 1925 to 1975. Borroff focuses on how this change influenced the
works of three renowned American composers: Irwin Fischer, Ross Lee
Finney, and George Crumb.
(Bio below by Lynn Vought, All Music Guide)
Edith Borroff (b.
1925) was born in New York City, the daughter of Marie Bergersen and Ramon Borroff,
both well-known professional musicians. Trained in music from babyhood, she composed
songs and piano pieces before she was six. In 1941 the family moved to Chicago;
there, Borroff, who already knew she wanted to be a composer, earned a B.Mus.
(1946) and M.Mus. (1948) in composition at the American Conservatory of Music,
with an undergraduate minor in organ (including two years at Oberlin with Claire
Coci) and a graduate minor in voice with the redoubtable singer Frances Grund.
It was not easy
for American women composers to be taken seriously at that time. In 1954 Borroff
went to Ann Arbor, where she earned her Ph.D. in the history of music at the
University of Michigan in 1958. Since then, she has taught music history and
composed music, retiring from the State University of New York at Binghamton
in 1992. She now lives in Durham, North Carolina.
From 1950 to 1954
Borroff taught at Milwaukee-Downer College, which was then a school for women
students only. There she composed several choral pieces for women's voices,
including "The Christ-Child Lay on Mary's Lap". The poem, by G.K. Chesterton,
had long been a favorite, and it was natural for her to set it to music. In
composing it, Borroff tried to incorporate both the form and the mood of the
poem in the music.