Thank goodness for Laura Greenberg. Her piece on the program of music by American women composers at the National Museum of Women in the Arts Saturday was just called "Trio." It was scored, traditionally, for violin, cello and piano and featured fragments of thematic material that seemed to bounce from instrument to instrument. Its interest lay mainly in its textures.

The other pieces all had "descriptive" titles: "Coming to Standing" by Alexandra Pierce; "Makimono" by Claire Polin, with five movements that had names like "Dragon-Fly" and "Grape Tendrils;" "Developing Hues" by Cynthia Folio; "Oneiros, the Dream," a quintet by Joelle Wallach; and "Perne in a Gyre" by Elizabeth Bell. But the relationships between the music and the implications in the titles were so obscure that the names distracted from some very good writing.

Folio's three-movement piece for flute and bass clarinet was the most cheerful and, perhaps, the least self-conscious work on the program. Played with wonderful agility by Julia Larson and Olive Blackall, it developed a couple of simple structural devices into a delightful romp.

The other pieces featured excellent control of color, texture and sonority with somewhat less focus on line. They shared somberness, self-absorption and a feeling of experimentation with idioms of expression, and they all got first-rate performances.