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Dissertations / Theses on the topic 'Women in music – england'

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Published: 25 July 2024

Last updated: 26 July 2024

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1

Morgan, Elizabeth Natalie. "The virtuous virtuosa women at the pianoforte in England, 1780-1820 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835614361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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2

Cooper, Suzanne Fagence. "Picturing music in Victorian England." Thesis, Bucks New University, 2005. http://bucks.collections.crest.ac.uk/9932/.

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This thesis analyses musical imagery created by Victorian artists. It considers paintings, decorative arts and photography, as well as contemporary art criticism and poetry. Focusing on artists associated with Pre-Raphaelitism and aestheticism, it shows how they used musical subjects to sidestep narrative conventions and concentrate instead on explorations of femininity, colour, mood and sensuality. This thesis begins by considering the musical experience of four artists - Frederic Leighton, Dante Gabriel Rossetti, Edward Burne-Jones and James Whistler - and the influence of personal taste on their musical subjects. It then looks at the depiction of non-Western performance, including images of dancing girls. The third chapter explores the links between music and worship, and the subversion of traditional religious iconography by aestheticist artists. Chapter four analyses images of musical women, and especially the late-Victorian interest in mermaids and sirens. The theme of sensuality continues with an investigation of the connections between music and colour, by assessing the influence of Renaissance Venice, Wagner and French theories of synaesthesia on the Victorian art-world. The final chapter looks at the interconnectedness of music, nostalgia and bereavement in aestheticist painting. Although this study approaches the subject of music-in-art from a number of different directions, there are two key themes that underpin the interpretation of musical images. The first is that musical symbolism was malleable: music could signify both religious devotion and sexual passion. The second is that, in the Victorian imagination, music was oppositional and unstable. It was linked with femininity, emotion, colour, desire and the supernatural. This thesis demonstrates that the idea of music was a key component in the emergence of anti-Establishment art in Victorian England.

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3

Burrows, Donald. "Handel in England: Sacred Music." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37211.

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4

Daybell, James. "Women letter-writers in Tudor England." Oxford [u.a.] Oxford Univ. Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780199259915.001.0001.

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5

Cast, Andrea Snowden. "Women drinking in early modern England." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phc346.pdf.

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Includes bibliographical references (leaves 320-415) Investigates female drinking patterns and how they impacted on women's lives in the sixteenth and seventeenth centuries in early modern England. Deals with female drinking as a site of contention between insubordinate women and the dominant paradigm of male expectations about drinking and drunkeness. Female drinking patterns integrated drinking and drunkeness into women's lives in ways that enhanced bonding with their female friends, even if it inconvenienced their husbands and male authorities. Drunken sociability empowered women.

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6

Archer, Jayne Elisabeth Euphemia. "Women and alchemy in early modern England." Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/272292.

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7

Elias, T. P. "Music and authorship in England, 1575-1632." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598807.

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This thesis participates in the study of the 'birth of the author', the positioning of the category of authorship as a historical and social construct. In particular, it examines how ideas of authorship are developed in the production and presentation of printed music books. Music is not just a different, but a distinct way of approaching this issue. Composers were professionals, for whom financial considerations and the importance of enhancing their reputations outweighed gentlemanly concerns with the 'stigma of print'. The difficulties of setting and proof-reading music also encouraged printers to involve composers in the production of their own printed texts. Musicians had both the desire and the opportunity to create fixed, authorised texts in print. The first chapter of this thesis discuses the traditions of the compilation and transmission of music in manuscript, and the way in which 'authorised texts' were those edited by scribes, rather than those created by composers. The second chapter traces the emergence of the authorising individual out of traditions of public music and imitative practices. It also examines the extent to which imitators and anthologisers of Italian music, such as Thomas Morley, developed a concept of the 'work' as an entity which could survive translation and musical imitation. Chapter three discusses the development of the printed music book as a coherent collection, distinct from miscellaneous gathering of individual items. With particular reference to the Psalmes, Sonets and songs of William Byrd (1588), it follows the development of the form and presentation of printed music books out of traditions of the printed miscellanies of lyric verse. Chapter four moves away from the printed musical text to examine issues of patronage and the figurative ownership of the work. Musical texts also require performances; the text itself is incomplete. Composers thus begin to attempt to control performances to establish a definition of their 'work' as an entity beyond the printed page.

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8

Jourdan, Paul. "Mendelssohn in England, 1829-37." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/272810.

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9

Marsh, Dana Trombley. "Music, church, and Henry VIII's Reformation." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670102.

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10

Johnson, Christine M. "Quaker women peace campaigners in England 1820-1915." Thesis, Staffordshire University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271791.

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11

Nevill, Marjorie. "Women and marriage breakdown in England, 1832-1857." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236462.

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12

Welford, Jo. "What's the score? : women in football in England." Thesis, Loughborough University, 2008. https://dspace.lboro.ac.uk/2134/17447.

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In 2003, football overtook netball as the most popular female sport in England, and current estimations suggest that 1.6 million girls and women now play the sport regularly (Cochrane, 2007; Randhawa, 2003). To many, this was a vindication of the successful admittance of women's football into the Football Association in 1993, when it became governed, organised and developed by the organisation that is responsible for the well-established male structures. Historically however the movement of women and girls into this traditionally male-dominated arena has been problematic, and discourses surrounding the sport, particularly in the UK, are particularly powerful in reproducing this 'male preserve'. The surge in female participation at the grassroots level does not necessarily indicate that such issues have been overcome. This research has examined the current experiences of women within grassroots football in England, locating these in the context of the club and organisational structures through which they experience the sport on a day-to-day basis. Following an initial survey (n=55) of affiliated women's football clubs, the experiences of twelve women substantially involved in the organisation of football for both girls and women within ten football clubs were studied in depth, with reference to both their positioning within relationships with male football clubs, and their perceptions of the wider football context. The mixed-methods strategy allowed for an overview of the relationship between women's and men's football to be developed, and dynamics within this to be explored in greater detail. A broad feminist theoretical framework was utilised, paying particular attention to the role of discourse within the organisation of football. The research found that women who 'work' within football are frequently' positioned as 'outsiders-within' the sport and face continuous challenges within structures that are constraining both individual experiences and collective advancement in the game. The relationship between women and the context of football that they are both embedded within yet detached from was complex and at times contradictory. The study concluded that the reported increase in participation represents limited progress in establishing the women's game and has done little to challenge inequitable gendered practices that persist in football structures.

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13

Devlin, Majella. "Performing women in Early Modern England, 1625-1700." Thesis, Queen's University Belfast, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517291.

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14

Colton, Lisa Marie. "Music and sanctity in England, c1260-c.1400." Thesis, University of York, 2003. http://etheses.whiterose.ac.uk/9839/.

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15

Barişeri, Nurtuğ. "Primary music teacher education in England and Turkey." Thesis, Durham University, 2000. http://etheses.dur.ac.uk/4287/.

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This research investigates the primary student teachers' music education in England and Turkey. It is aimed to determine the generalist PGCE and specialist B.Ed students' attitudes and confidence towards primary music teaching before and after their teacher education courses. Similarly it investigated the 3(^rd) and 4(^th) year generalist student teachers' attitudes and confidence towards primary music teaching. Pre and post course questionnaires, interviews and informal observations were used for the study in England and a single questionnaire was applied to Turkish students. Factor analysis was used to construct a valid post-course questionnaire, which was also used to interpret some of the findings. English students' attitudes towards music teaching are based on three factors: (I) confidence in pedagogical content knowledge, (II) beliefs about value of music, (III) enjoyment of teaching music. Turkish students' responses on attitude statements created four factors: (I) confidence in content of music, (II) teaching role and beliefs to the value of music, (III) confidence in pedagogy, (IV) enthusiasm for music teaching. Turkish students tended to separate their pedagogical confidence from their subject knowledge confidence, whereas these aspects were merged for English students. In contrast to the Turkish teacher education course, the PGCE course increased students' confidence in their pedagogical knowledge and in creative activities at the end of their course. 3(^rd) year Turkish students were more confident in their musical and teaching knowledge and had more positive beliefs about the value of music education than the 4(^th) year students. Lack of time for music teaching practice and class management problems were shown as the main obstacles to the development of students' confidence to teach music further. The main implication for Turkish courses is to give more emphasis on pedagogy and creative activities for the education of students and English students should be given more chance to teach music during their teaching practice. Key Words: primary music education, specialist-generalist student teachers, attitude, confidence, and teaching practice.

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16

Fleming, Michael. "Viol-making in England, c.1580-1660." Thesis, Open University, 2001. http://eprints.hud.ac.uk/30793/.

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Viols made in England c.1580-1660 held a leading reputation, yet few survive and little is known about their makers. This study describes a new protocol for gathering information from such instruments. Images of thirty-eight viols, and data collected from them by applying the protocol, are discussed, showing that antique viols provide unreliable evidence about their original state. On top of the effects of wear, damage and alteration, changes in the structural wood of viols over time mean they cannot retain their precise original shape or dimensions. These viols, therefore, are not amenable to the sort of geometric-proportional analysis of shape which is widely considered to describe their makers’ intentions. It is also shown to be highly unlikely that either viol-makers or their clients would have mathematically-sophisticated predilections or capabilities, so such techniques would not be employed. Images of viols in a range of media are shown to give an unreliable record of the viols that were played in England, and to provide good evidence of the shapes and decoration that were familiar to those who made and used viols. The commercial organisation of viol-making is examined, demonstrating that although apprenticeship was important, it was not essential for instrument-making. Viols are shown to have been made in other places besides London, and by non-specialist woodworkers, typically described as joiners. Viol-makers are investigated by replacing conventional ideas of ‘schools’ of making with a detailed consideration of makers’ place in society. The five viol-makers praised by Thomas Mace (1676) are discussed in detail along with others, some of whom are identified for the first time. This characterisation of viol-makers and consideration of extant instruments suggests reforms for our understanding of the nature of viol-making, and calls into question traditional attributions of viols to particular makers.

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17

Moran, Angela Claire. "Sites of diaspora : the Irish music of Birmingham." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609655.

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18

Prozzillo, Nicholas Stefano. "Organ reform in England : aesthetics and polemics, 1901-1965." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:edc38b39-1749-49b6-b35f-1493f605e7e0.

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This thesis examines organ reform in England between 1901 and 1965, an arena of practical music-making and intellectual and ideological debates in which a number of related practices surrounding the English organ – notably its scholarship, aesthetics of design, liturgical functions, native and foreign repertoires, including J. S. Bach’s organ music – played a central role in transforming the sound, design, and appearance of the instrument. Whilst influential musicians asserted that the English organ of the first half of the twentieth century was a great work of art, and survived in what could be termed ‘splendid isolation’ from Continental models, others contended that it lacked a logical relationship with more than a home-grown repertory. However, supporters of the English organ claimed that technological and tonal improvements made it the most perfect medium for Bach performance. It was a renewed interest in historical organs and repertory that exposed the limitations of cultural centrism, pointing to the English organ’s weakness as a point of departure for understanding its European repertory. This insistence paved the way for an enthusiastic reception of other organs, which, through their construction and new tonal qualities, won the favour of musicians who had found the English organ too limited and focused on a particular culture. The thesis allows historical actors to populate the discourse, revealing the diverse practices out of which a quest for reform emerged. As such the organ provides a fascinating and preliminary rehearsal case for what in the 1970s and 80s would be termed the early music revival.

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19

Wahl, Shelbie L. "By women, for women choral works for women's voices composed and texted by women, with an annotated repertoire list /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/788.

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20

McCreery, Cindy. "Satiric prints of women in late eighteenth-century England." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336246.

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21

Wiskin, Christine. "Women, finance and credit in England, c.1780-1826." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/36386/.

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Credit may mean both a way of doing business and the reputation of the individuals transacting it. Both aspects are explored in this thesis. Access to sources of finance for business and the ways in which trade credit transactions took place are amongst the economic issues examined. The cultural aspects of credit, such as trust, personal standing and the language in which this was expressed, adherence to, or deviation from, socially acceptable standards of behaviour, are discussed. Credit is used as a tool of analysis to investigate orthodoxies about women's use of it for business purposes. Small-scale capitalism, with its specific objectives of industrious independence and economic individualism centring on the family firm, provides the organising concept and the explanation for how and why women from the middle ranks of society ran businesses during the late eighteenth and early nineteenth centuries. Findings, based on the business activities and trade credit transactions of women resident in, or conducting business in, the English West Midlands, reveal their greater participation in the economic community than has been recognised hitherto. Furthermore, they indicate that trade credit transactions between men and women regarding the new consumer goods and services of the first industrial revolution were not an arena for the working out of gender politics. Women belonged to mixed-sex business networks where they were judged, as men were, on the punctuality of their payments and the honouring of their obligations. As a result, the limitations of the existing historiography are shown. Arguments for a specifically female type of credit negotiated between women principally for domestic purposes or that women with capital restricted their economic activity to investment to provide for their non-working existence do not do justice to the 'middling sort' businesswomen whose contribution to the processes of industrialisation is now recognised in this work.

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22

Hough, Carole Ann. "Women and the law in early Anglo-Saxon England." Thesis, University of Nottingham, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335867.

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23

Todd, Selina. "Young women, employment and the family in interwar England." Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270354.

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24

Bentley, Eileen. "Music in schools in England during the twentieth century." Thesis, University of Manchester, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.561210.

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This thesis traces the development of music in the school curriculum this century, with particular reference to the maintained sector of education. It demonstrates how the subject has expanded from being an activity almost exclusively concerned with the singing of songs, to become a discipline, which by the 1980's embraced instrumental work, musical appreciation, creative music making, examination work and electronic music. This research examines the process of development from the early days of the 20th Century when singing was the most important feature of school music. The significance of singing in school music lessons has been consistently acknowledged throughout the century by music educators, although as the years progressed the acquisition of other musical skills was considered essential. The work traces the gradual introduction of percussion bands, and eurhythmics during the early years of the century, a shifting emphasis to the appreciation movement in the 1930"s and the introduction of the radio and gramophone during this period. After 1944 instrumental tuition in schools became increasingly popular and during the 1950's and 1960's the emphasis again moved and focused on the developing creativity movement. During the 1970's and 1980's a number of current issues evolve and the impact of technology, G. C. S. E., the National Curriculum and the 1988 Education Act is examined. Thus can be seen the expansion of curriculum music this century and the way in which at various stages of this development different aspects of class music assumed greater or lesser significance. Despite this development, school'music has had apparent low esteem in many schools and has usually been amongst the first subjects to be sacrificed in order to make way for more academic areas of the curriculum. Any esteem which music has gained, has often been associated with extra curricular work either within school or at Masic Centres, and the growth of such musical activities has been considerable throughout the 20th Century. The thesis seeks to ask and answer a number of questions. Why has music had low esteem? Why has it so often suffered as a curriculum subject? How have various developments in our understanding of the learning process influenced music in the curriculum? What has been the impact of various Reports throughout the century and how have they viewed the importance of music as a curriculum subject? What has been the impact of certain educators in music this century? What has been the impact of the development of instrumental services and music centres during recent years? It is not within the scope of this work to examine music in the Private Sector or in specialist schools for children showing exceptional musical ability.

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25

Thomas, Gareth James. "The impact of Russian music in England 1893-1929." Thesis, University of Birmingham, 2005. http://etheses.bham.ac.uk//id/eprint/260/.

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This thesis is an investigation into the reception of Russian music in England for the period 1893-1929 and the influence it had on English composers. Part I deals with the critical reception of Russian music in England in the cultural and political context of the period from the year of Tchaikovsky’s last successful visit to London in 1893 to the last season of Diaghilev’s Ballet russes in 1929. The broad theme examines how Russian music presented a challenge to the accepted aesthetic norms of the day and how this, combined with the contextual perceptions of Russia and Russian people, problematized the reception of Russian music, the result of which still informs some of our attitudes towards Russian composers today. Part II examines the influence that Russian music had on British composers of the period, specifically Stanford, Bantock, Vaughan Williams, Holst, Frank Bridge, Bax, Bliss and Walton. A combination of comparative examples and critical discussion of the music is used to illustrates how Russian music influenced these composers and, as a result, demonstrate the key role Russian music played in helping them to find their compositional voice.

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26

Carter, Stephanie. "Music publishing and compositional activity in England, 1650-1700." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/music-publishing-and-compositional-activity-in-england-16501700(14b13888-a2be-44d4-9e14-66b0980b3fec).html.

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This thesis focuses on the flourishing music-publishing industry in England in the second half of the seventeenth century, and examines its relationship to and influence on the activities of professional musicians. Music publishing as a commercial entity developed in England during this period, particularly, but not exclusively, through the endeavours of the Playford family. By placing the printed music books within the social and cultural contexts in which they were produced, this thesis explores the consequences of printing on the musical text, understanding the purposes for which the printed book was created and how different functions of print affected the musical texts that they contained. A detailed examination of the printed music sources sheds light on how publication (including posthumous publication) related to the image and status of the composer, and draws attention to the interaction between public music-making, compositional activity and music publishing during this period. Through an investigation of the contemporary printed outputs of five case-study composers - William Lawes, Henry Lawes, Matthew Locke, Henry Purcell and John Blow - this thesis explores the individual nature of the composers' relationships with the printed music book trade and how their contemporary printed outputs relate to their overall compositional output. This is followed by a detailed analytical study of specific compositions by the five case-study composers, examining both contemporary manuscript and printed sources, in order to determine to what extent the commercial print market influenced professional musical creativity. Different versions of compositions of certain genres, particularly secular vocal works, were disseminated via print as opposed to manuscript, and these alternative versions appear to have been instigated by both composers and stationers. This approach to examination of contemporary sources calls for the contextual consideration of sources and the musical texts within them.

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Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.

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28

You, Xuesheng. "Women's employment in England and Wales, 1851-1911." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/283968.

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29

Cooke, Mary Lee. "Southern women, southern voices Civil War songs by southern women /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1477CookeML/umi-uncg-1477.pdf.

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Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Feb. 29, 2008). Directed by Nancy Walker; submitted to the School of Music. Includes bibliographical references (p. 160-176).

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Dertinger, Noreen. "Instrumental ensemble settings of In Nomines composed in England (1550-1650)." Thesis, University of Ottawa (Canada), 1991. http://hdl.handle.net/10393/7895.

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In Nomine is the Latin title given to English compositions of the sixteenth and seventeenth centuries having the Sarum antiphon Gloria tibi Trinitas as their cantus firmus. Many composers, from Taverner to Purcell, composed at least one work based on this cantus firmus. The transition from a primarily vocal style to one for instrumental performance is evident. This study deals with a selected part of the In Nomine complex using methods developed in the scholarship of the L'homme Arme pieces. The purpose of this project is to compile, in one place, an in-depth study of the history of this genre, a description and listing of the sources, and an analysis of selected In Nomines. It is hoped that this will contribute to the understanding of a genre that played an important role in the development of the techniques employed in instrumental ensemble music. (Abstract shortened by UMI.)

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31

Stiles, Kenton M. "Feminism and Methodism a study of six Methodist women in eighteenth-century England /." Theological Research Exchange Network (TREN), 1993. http://www.tren.com.

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32

Lee, Becky R. "Women ben purifyid of her childeryn, the purification of women after childbirth in medieval England." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0015/NQ53915.pdf.

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33

Helbing, Rachel. "Women and Steel Bands in Trinidad." Miami University Honors Theses / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1111087466.

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Daniel, Linda Jean. "Singing out!, Canadian women in country music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0022/NQ49995.pdf.

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35

Dunlap, Amy L. "Women with Addictions' Experience in Music Therapy." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1483647124948226.

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36

Hume, James Cameron. "The Chapel Royal partbooks in eighteenth-century England." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/the-chapel-royal-partbooks-in-eighteenthcentury-england(18b3a468-67ea-42b8-a9a1-1aa51505d33f).html.

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This thesis provides a comprehensive source study of the eighteenth-century Chapel Royal partbooks (London, British Library R.M.27.a–d). The 56 manuscript volumes in this collection, which are now catalogued into four groups (or ‘sets’), were used in the daily choral services at St James’s Palace during the eighteenth and nineteenth centuries. The sources have a complex history since they have an ‘organic’ quality whereby the books continued to be copied into and altered whilst they were in regular use. The first part of the thesis (chapters two to six) examines the physical characteristics of the manuscripts by considering the books’ construction, the traits of the copyists, and the way material was gradually added. Paper and scribal analysis, as well as general cataloguing work, are used to identify the contents and explore the layers of copying. The second part of the thesis (chapters seven and eight) looks at the function of the books and considers the collection within its eighteenth-century context. Documentary sources are considered alongside various elements of the books to establish how the partbooks were used in performance. The Chapel’s method of partbook organisation is then compared with the organisation of similar collections at other choral foundations (including those with which the Chapel had strong connections).

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37

McCarty, Elizabeth. "Attitudes to women and domesticity in England, c. 1939-1955." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259984.

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38

Lillie, Mark. "Drugs prescribed to pregnant women in England, 1977 to 1996." Thesis, University of York, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488735.

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Burton, Susan Karen. "Japanese women residents in England : a methodological and cultural study." Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270506.

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The thesis is a qualitative research project examining the lives of Japanese women who have lived in England long-term (defined as two or more years). It is based on oral history interviews with 16 Japanese women ranging in age from 26 to 51, and categorised into four groups: students, career women, women married to or divorced from British men, and company wives (women who accompany their Japanese husbands on company postings). The methodological section is an exploration of the cultural and linguistic issues involved in carrying out a cross-cultural oral history project. Cultural factors examined include uchi/soto (inside/outside), tatemae/honne (public truth/private truth), and omote/ura (front/back knowledge). Linguistic issues covered include the advantages and disadvantages of interviewing in Japanese and in English, dialogue, mood, non-verbal communication, transcription and presentation. This section is an examination of what can be gained or lost through crosscultural interviewing, and a consideration of how far Western methodologies can be applied to historical research with interviewees who are of Eastern origin. The research findings section begins with profiles of the interviewees, examination of their socio-economic backgrounds, and analysis of their reasons for going abroad and for their choice of England as their destination. Subsequent chapters examine the views and experiences of the women in four areas: education, work, relationships, and the lives of the company wives in the expatriate community. The final two chapters analyse common themes: adaptation and alienation, discrimination, segregation, migration identities, status and internationalism. This is an interdisciplinary study dealing with aspects of gender, migration, oral history, and Japanese society

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Morrison, Bronwyn Louise. "Ordering disorderly women : female drunkenness in England c.1870-1920." Thesis, Keele University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412992.

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Holden, Katherine. "The shadow of marriage : single women in England 1919-1939." Thesis, University of Essex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247566.

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Mills, Katherine Louise Carleton University Dissertation History. "Wills in later medieval England, with special reference to women." Ottawa, 1992.

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Catty, Jocelyn. "Writing rape, writing women in early modern England : unbridled speech /." Basingstoke [GB] : New York : Macmillan press ; St. Martin's press, 1999. http://catalogue.bnf.fr/ark:/12148/cb371073063.

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Murray, Teresa Ann. "Thomas Morley and the business of music in Elizabethan England." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/1247/.

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Thomas Morley’s family background in Norwich and his later life in London placed him amongst the educated, urban, middle classes. Rising literacy and improving standards of living in English cities helped to develop a society in which amateur music-making became a significant leisure activity, providing a market of consumers for printed recreational music. His visit to the Low Countries in 1591 allowed him to see at first hand a thriving music printing business. Two years later he set out to achieve an income from his own music, initially by publishing collections of light, English-texted, madrigalian vocal works. He broadened his activities by obtaining a monopoly for printed music in 1598 and then by entering into a partnership with William Barley to print music. Unfortunately Morley died too soon to reap the full financial benefit of what appears to have been a profitable business. Whilst Morley’s personal ambitions were curtailed by his early death, his publishing activities and the model he provided for contemporary composers led to the creation of a substantial body of nearly one hundred and seventy editions and reprints of music suitable for domestic performance, many of which continued to be used for many years.

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Wild, Chris. "Charles Ives' Three Places in New England| An Interpretation and a Conductor's Guide." Thesis, Northwestern University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10929197.

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My personal journey through Ives? music is currently focused on version 4 of his Three Places in New England (the version that is the truest realization of his original instrumentation and orchestration), through the second edition of said version, published in 2008 with editing by conductor James Sinclair and engraving by Thomas Brodhead, both of whom represent the Charles Ives Society. Despite being more than a century old, the ideas contained within Three Places in New England are as contemporary and pressing as ever, and the duality of its scope is impressive: it gazes outward with worldly ambition alongside intimate reflections. Whereas Aaron Copland?s oeuvre frequently meditates on the possibility of the American Dream, elusive as that may be, Ives? mature works reflect an American reality, where an array of cultures meet as the American experiment, and the ensuing mix of sounds is equal parts dissonant and beautiful. With this inspiration in mind, I set forth to gather ideas pertaining to Charles Ives? Three Places in New England, intending to build a thorough guide to interpreting and realizing it.

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Bashynska, Lyudmyla. "Gentry women and their networks in fifteenth-century Norfolk." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708585.

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Öhman, Mårten. "En studie av punkens uppsving i England under mitten av 70-talet." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-173695.

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Abstract Mårten Öhman: En studie av punkens uppsving i England under mitten av 70-talet. – Uppsala: Musikvetenskap 2002. 60 p. Syftet med denna uppsats är att undersöka och beskriva punkrockens framväxt i England vid mitten av 1970-talet samt vilka värderingar och idéer kom till uttryck genom denna. Utifrån ett musikaliskt perspektiv såväl som ett mer renodlat samhällsperspektiv ramar uppsatsen in de centrala elementen i denna musik- och livsstil. Vidare sätts punkrocken i relation till andra ungdomskulturer och liknande företeelser för att visa på liknande drag och skillnader. Studien visar hur punkrocken vid denna tid tog inspiration från tidigare etablerade musikstilar såsom 50- och 60-talsrock men också glamrocken. Från det mer samhälls- och idéhistoriska perspektivet behandlar uppsatsen hur punkens idéer om samhällsomvandling kan ha inhämtats bland annat från Situationisternas filosofi. Genom att sätta musik- och livsstilen i sin tid och på sin plats pekar uppsatsen ut en rad faktorer som bidragit till formandet av punkrocken. Den komparativa studie som sedan följer med andra ungdomskulturer och liknande företeelser har sin plats då den bidrar till att öka förståelsen för den typ av ungdomsrörelse punkvågen innefattade.

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Lang, Frederick David. "The Anglican organist in Victorian and Edwardian England (c.1800 - c.1910)." Thesis, University of Hull, 2004. http://hydra.hull.ac.uk/resources/hull:5589.

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Stanfield, Norman. "Rough music, rough dance, rough play : misrule and Morris dance." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1056.

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England is home to a distinctive vernacular dance called Morris dance. One of the reasons that it is unique is because it is a secular dance that is displayed rather than performed as a medium for socializing. Questions often arise from audiences when they try to decode its symbolism and the purpose of its presentation. Several interpretations have emerged since Morris dance was revived by successive waves of enthusiasts. After reviewing the study and culture of pre-modern and modern Morris dance and its cultural milieu and its principal venue, Whitsuntide(also known as May Day), a potential interpretation is proposed — misrule. The title of my dissertation recalls the famous essay on the theatrical display of misrule by E.P. Thompson titled "Rough Music" (1993). Using the research that has emerged from the study of carnival behaviour by Mikhail Bakhtin and liminality by Victor Turner, the basic conditions of misrule are reviewed and illuminated. Then the symbols and behaviour of modern and premodern Morris dance are subjected to comparison and contrast with the result that modern Morris dance will be shown to have departed significantly from the premodern template of misrule. This departure may help to explain the dilemma of the current popular criticisms leveled at Morris dance today. However, a complication is raised in which the new misrule interpretation may not prove usefu lafter all because it cannot be applied to the Morris dance culture as it currently exists.

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Miserandino-Gaherty, Cathryn J. "The rastrology of English music manuscripts, c. 1575-c. 1642." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670220.

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