Tesi sul tema "Music by women composers"
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Rothenberg, Florie. "Music for clarinet and string quartet by women composers". Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186505.
Testo completoFuller, Sophie. "Women composers during the British musical renaissance, 1880-1918". Thesis, Online version, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.263601.
Testo completoWahl, 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.
Testo completoSeddon, Laura. "The instrumental music of British women composers in the early twentieth century". Thesis, City University London, 2011. http://openaccess.city.ac.uk/1172/.
Testo completoCooke, 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.
Testo completoTitle from PDF t.p. (viewed Feb. 29, 2008). Directed by Nancy Walker; submitted to the School of Music. Includes bibliographical references (p. 160-176).
Creasap, Susan D. "American women composers of band music : a biographical dictionary and catalogue of works". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1019472.
Testo completoSchool of Music
Richards, Melanie Ann. "A selected bibliography of music for clarinet and one other instrument by women composers". Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244141413.
Testo completoMarcho, Trevor K. "Socially Responsible Music Repertoire: Composer Gender Diversity in Instrumental Ensembles". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1593085683940817.
Testo completoTaliani, Alexandra R. "An Annotated Catalog of the Music of Eusebia Simpson Hunkins in the Music and Dance Library Special Collections Room and the Mahn Center for Archives and Special Collections of Ohio University". Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1587141633610687.
Testo completoBarber, Holly. "Women in the Spotlight| A Survey of Female Choral Composers for Middle and High School Choirs". Thesis, California State University, Los Angeles, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10618445.
Testo completoThis project report presents a set of criteria for choosing a balanced program of repertoire for choirs, specifically focusing on increasing the representation of female composers in programming for middle and high school choirs. The recital given in conjunction with this report represents these criteria in action.
In addition to providing a biography of each composer and analyzing the text and musical structure of each song, the author includes her rationale for choosing each piece based on the criteria, as well as teaching strategies and conducting techniques employed. The project report also includes an appendix with an annotated bibliography to provide an updated resource for conductors at the middle and high school level who want to be deliberate in programming a more diverse representation of composers.
Tavares, Furtado Rebeca. "An annotated catalog of works by women composers for the double bass". Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6867.
Testo completoSalido, Caroline Besana. "The Piano Compositional Style of Lucrecia Roces Kasilag". Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1038863092.
Testo completoBillock, Rebecca. "Selected intermediate piano pieces by seven women of the twentieth century : Marion Bauer, Germaine Tailleferre, Ruth Crawford Seeger, Sofia Gubaidulina, Emma Lou Diemer, Chen Yi, and Karen Tanaka /". Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11367.
Testo completoMartin, Maria Jose. "Drama and Poetry in the Music of Maria Luisa Ozaita (b. 1939)". University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1006873170.
Testo completoGoh, Talisha. "Re-Composing Feminism: Australian women composers in the new millennium". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2194.
Testo completoMusselman, Susan Joanne. "Cohesion of composer and singer the female singers of Poulenc /". The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1196185791.
Testo completoAlmeida, Angela Teixeira de. "Música, gênero e dor de amor : as composições de Dolores Duran e Maysa (1950-1974) /". Assis, 2017. http://hdl.handle.net/11449/152682.
Testo completoBanca: Maria de Fátima Cunha
Banca: Wilton Carlos Lima da Silva
Resumo: Nesse trabalho analisaremos a atuação de duas cantoras e compositoras de grande talento no cenário musical, antes monopolizado pelos homens, Dolores Duran e Maysa, ambas com uma linguagem poética na qual o amor era comumente retratado enquanto fossa, ilusão e dor em canções que, cheias de sentimentos e emoções, expressavam o sentimento de perda, as desesperanças, os desencontros e a solidão, ou seja, o sentimento real de seus amores. As letras aqui analisadas são entendidas como expressão de vivências pessoais e das percepções das duas compositoras, das tensões e possibilidades de uma nova forma de feminilidade no período retratado, no qual as mulheres puderam ultrapassar as limitações de seu papel social circunscrito ao espaço doméstico e à submissão. Iremos abordar, através das letras das compositoras, o tema do amor e dor, as relações amorosas, na visão feminina, pouco divulgado na época, pois a maioria das canções eram compostas por homens. Assim, apontaremos uma desnaturalização do papel da mulher vigente no período. Também iremos abordar às intensas transformações econômicas, culturais e sociais ocorridas na década de 1950, que é reconhecida como "Anos Dourados". Houve uma sucessiva mudança de hábitos, pois as cidades começaram a crescer, tanto territorial como populacionalmente, em um processo crescente de "modernização" através da popularização do cinema norteamericano e da entrada da televisão. Iremos discutir como a mulher está vivenciando as mudanças do período, tanto na economia como na sociedade e também pensar como a mulher tem sido retratada nos meios midiáticos (revista, rádio e a musica), a partir de duas matrizes (a mulher do lar e a leviana) e como certos produtos refletiam essa dicotomia
Abstract: In this paper we will analyze the performance of two great female singers and composers in the musical scene, previously monopolized by the men, Dolores Duran and Maysa, both with a poetic language in which the love was normally portrayed as depression, illusion and pain in songs that, full of feelings and emotions, expressed the feeling of loss, hopelessness, mismatch and loneliness, that is, the real feeling of their loves. Here, the lyrics analyzed are understood as expressions of personal experiences and perceptions of the two female composers, from the tensions and possibilities of a new form of femininity in the portrayed period where the women were able to overcome the limitations of their social role limited to domestic space and submission. We will discuss, through the lyrics of the composers, the themes of love and pain, love relationships, in the feminine view, little publicized at the season, because most of the songs were composed by men. Thus, we will point out a denaturation of the role of women in the period under consideration. We will also address the intense economic, cultural, and social transformations that occurred in the 1950s, known as "Golden Years". There was a successive change in habits because the cities began to grow, both territorially and populationally, in a growing process of "modernization" through the popularization of American cinema and television entry. We will discuss how the woman is experiencing the changes of the period, both in the economy and in society, and also to think about how women have been portrayed in the media (magazine, radio and music), from two matrices (the home woman and the reckless woman) and how especific products reflected this dichotomy
Mestre
Pace, Cynthia Margaret. "Ruth Crawford's final solo piano works : an analysis of FOUR PRELUDES FOR PIANO and PIANO STUDY IN MIXED ACCENTS /". Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10903598.
Testo completoTypescript; issued also on microfilm. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 322-324.
McClain, Sandra Clemmons. "The solo vocal repertoire of Mary Carlisle Howe with stylistic and interpretive analyses of selected works /". Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11229342.
Testo completoTypescript; issued also on microfilm. Sponsor: Jan Eric Douglas. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 215-217).
Click, Sarah D. "Art Song by Turn-of-the-Century Female Composers". Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278468/.
Testo completoEvans, Christine. "My vicious angel : a one-act play with music /". View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.105022/index.html.
Testo completoRobb, Mary. "Music of Miriam Gideon during the McCarthy era, including a complete catalogue of her works". Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7774.
Testo completoHowley, Rachel S. "The changemaker conductor: Exploring the role of the conductor in achieving gender equality for Australian women composers of wind band music". Thesis, Griffith University, 2022. http://hdl.handle.net/10072/420594.
Testo completoThesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
Full Text
Shin, Eun Young. "A Study of Selected Compositional Techniques Found in Young Ja Lee's Variations Pour Piano "Umma ya, Nuna ya" (1996)". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062878/.
Testo completoScarinci, Silvana Ruffier. "Safo Novella : uma poetica do abandono nos lamentos de Barbara Strozzi (Veneza, 1619-1677)". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284273.
Testo completoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este projeto aborda de forma crítica e interdisciplinar os lamentos da compositora do seicento italiano, Barbara Strozzi. Para realizá-lo, diferentes abordagens tornaram-se necessárias: primeiramente fiz uma análise de seus lamentos mais representativos. Em segundo lugar, o confronto destas obras com obras similares de diferentes autores possibilitou a compreensão dos ideais estéticos e expressivos do período; e por último, estabeleci as conexões entre estas obras e o cenário cultural e ideológico que as circunda. As vozes de muitas mulheres, poetas e musicistas, criam um denso diálogo com a voz de nossa Venere canora. De Safo a Gaspara Stampa, das heroínas de Ovídio a Barbara Strozzi, todas elas expressam as dores do abandono com as cores violentas do desejo erótico. Tento explicar como a obra de Strozzi encaixa-se nesta tradição e como ela constrói a figura do ser abandonado dentro de um novo contexto, permeado pela força propulsora de Giambattista Marino. Como anfitriã da Accademia degli Unisoni, Barbara Strozzi cria uma música que dialoga com os intelectuais e poetas que freqüentam sua academia, usando uma linguagem que jocosamente provoca, seduz e corajosamente reafirma seu lugar como cortesã
Abstract: This project adresses in a critical and interdisciplinary way the Laments of the seicento woman composer Barbara Strozzi. This task is approached in three complementary steps: firstly an analysis of her most representative laments; secondly, confronting these works with similar ones from different authors, which enables us to understand the aesthetic and expressive ideals of the period; and thirdly the connections between these works and the cultural and ideological scenery that surrounds them. The voices from many women poets and musicians create a dense dialogue with the Venere Canora?s own singing voice. From Sappho to Gaspara Stampa, from Ovid?s heroines to Barbara Strozzi, they all express the pains of abandonment with the violent shades of erotic longing. I try to explain how Strozzi?s work fits into this tradition and how she constructs the figure of the abandoned being within a new poetic and cultural environment, permeated by the revigorating impulse of Giambattista Marino. Being the hostess of the Venetian Accademia degli Unisoni, Barbara Strozzi creates a music that dialogues with her male visitors in a language that wittily provokes, allures and bravely restates her position as a courtesan
Doutorado
Mestre em Música
ARNOLD, ELIZABETH PACKARD. "ELEONORE SOPHIA MARIA WESTENHOLZ (1759-1838): A MUSICO-POETIC ANALYSIS OF SELECTED LIEDER AND HER POSITION IN THE HISTORY OF THE CLASSIC LIED". University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1142364141.
Testo completoEdelman, Rhea. "Selected Works by Female Composers of the Nineteenth and Twentieth Centuries for Advanced Suzuki Violin Students". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011798/.
Testo completoKarlstrom, Sigrid. "Three Women Composers and Their Works for Viola and Piano| Marion Bauer, Miriam Gideon, and Vivian Fine and the Trajectory of Female Tradition in American Music". Thesis, University of Hartford, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10982811.
Testo completoThe lives and careers of the three women composers Marion Bauer (1882-1955), Miriam Gideon (1906-1996), and Vivian Fine (1913-2000) spanned more than a century. Each wrote works for viola and piano, including Bauer's Sonata for Viola and Piano, op. 22, Gideon's Sonata for Viola and Piano, and Fine's Lieder for Viola and Piano. Together, these composers' careers encompass a number of important trends in the professional development of the twentieth century woman composer in the United States.
Women composers were hindered in their advancement and acknowledgement for a number of reasons. One of these was a lack of "female tradition", the absence of an existing community of successful women composers to look to as examples. Another was the "female affiliation complex", the idea that female professionals struggle to look toward their predecessors as models because the female tradition is devalued. First, this document will explore the lives and influences of Marion Bauer, Miriam Gideon, and Vivian Fine, aiming to contribute to a better understanding of how "female tradition" and the "female affiliation complex" affected these composers' lives. Second, each work for viola and piano will undergo theoretical analysis focusing on goal-directed linearity. Goal-directed linearity is an issue of interest to performers and will encourage a deeper understanding of the works in question, fostering their further performance and dissemination.
Miguel, Nicholas Edward. "The art songs of Modesta Bor (1926-1998)". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6213.
Testo completoAichele, Michele Mai 1987. "Musical Life in Portland in the Early Twentieth Century: A Look Into the Lives of Two Portland Women Musicians". Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11494.
Testo completoThis study looks at the lives of female musicians who lived and worked in Oregon in the early twentieth century in order to answer questions about what musical opportunities were available to them and what musical life may have been like. In this study I am looking at the lives of the composers, performers, and music teachers, Ethel Edick Burtt (1886-1974) and Mary Evelene Calbreath (1895-1972). Mary Evelene Calbreath was a prominent Portland musician and composer. Her works were performed frequently in Portland and were written about newspapers. Ethel Edick Burtt composed piano pieces and songs, and performances of them were advertised in newspapers. Her life was remarkable enough to make it into encyclopedias like the
Committee in charge: Anne Dhu McLucas, Chair; Lori Kruckenberg, Member; Loren Kajikawa, Member
Michelsen, Catherine Bingman. "Julius Eichberg (1824-1893): Composer and String Pedagogue". Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/323447.
Testo completoNeiva, Tania Mello. "Cinco mulheres compositoras na música erudita brasileira contemporânea". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284395.
Testo completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A pesquisa consiste em discutir a inserção da mulher no campo da composião musical erudita brasileira na segunda metade do século XX através do estudo de caso. Foram escolhidas cinco compositoras: Maria Helena Rosas Fernandes (1933), Joey de Oliveira (1936), Marisa Rezende (1944), Vânia Dantas Leite (1945) e Denise Garcia (1955). A partir da metodologia da história oral, baseada principalmente em coleta de dados, entrevistas e análise de documentos primários, juntamente com a metodologia de pesquisa de história de conteúdo, caracterizada pela pesquisa bibliográfica fundamentalmente, foram elaboradas as trajetórias de cada compositora, enfocando a composição musical em suas vidas. Trabalhamos com alguns conceitos específicos para realização das análises e da reconstrução do campo, tais como: campo e dominação masculina desenvolvidos por Pierre Bourdieu e de geração por Karl Mannhein. Procuramos compreender a maneira como essas mulheres se tomam compositoras dado uma realidade caracterizada pela quase ausência feminina nesse campo, apesar das inúmeras conquistas da mulher durante o século XX, no Brasil e no mundo
Abstract: This research aims to analyze woman inclusion in the Brazilian classical music composition field in the second half of the twentieth century, through the case investigation. Five composers were chosen: Maria Helena Rosas Fernandes (1933), Joey de Oliveira (1936), Marisa Rezende (1944), Vânia Dantas Leite (1945) and Denise Garcia (1955). From the oral history methodology, based primary in data collection, interviews and analysis of primary documentation, together with the content history research methodology, based in bibliographic research, the biographies of each composers were elaborated, focusing the musical composition in their lives. We worked with some specific concepts for the realization of the analysis and the field re-construction, such as Field and Male Domination developed by Pierre Bourdieu and Generation by Karl Mannhein. We try to understand the way this women became composers inside a reality characterized by an almost female absence in this field, spite the incalculable woman conquests through the twentieth century, in Brazil and the World
Mestrado
Musica
Mestre em Música
Wang, Yi-Wen. "A Selected List of Music for Solo Clarinet and Clarinet with Piano by Taiwanese Female Composers Composed between 1986 and 2015: The Investigation of a Neglected Repertory with an Annotated Bibliography". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984119/.
Testo completoSmith, Bethany Jo. "Song to the dark virgin race and gender in five art songs of Florence B. Price /". Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1186770755.
Testo completoAdvisor: Melinda Boyd. Title from electronic thesis title page (viewed Feb. 5, 2008) Includes abstract. Keywords: Florence Price, black art song, African-American art song, women composers, African-American composers, Negro Renaissance. Includes bibliographical references.
Bartsch, Cornelia. "Fanny Hensel, geb. Mendelssohn Bartholdy : Musik als Korrespondenz /". Kassel : Furore-Verl, 2007. http://deposit.ddb.de/cgi-bin/dokserv?id=2671581&prov=M&dokv̲ar=1&doke̲xt=htm.
Testo completoGraner, Loretta D. "Virtuosity and Technique in the Organ Works of Rolande Falcinelli". University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396524310.
Testo completoLyra, Elizabeth Rizzi. "Música, retórica e leitura: a mulher na MPB e a constituição do ethos feminino". Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21563.
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This work is part of the research line “Reading, Writting and Portuguese Language Teaching”, from the Postgraduate Program in Portuguese Language of the Pontifical Catholic University of São Paulo. It has as general objective, the constitution of the female ethos in songs written by women composers, as well as the reading, from the rhetorical perspective of those songs in the learning environment of a regular school. Therefore, we have analyzed the female participation in the music history and the application of musical genre in the formation of youth education since the Old Greece back to current days. Based on the theoretical concepts, we analyze the songs Resposta (1958) from Maysa, Essa mulher (1978) composed by Joyce feat Ana Terra and Pagu (2000) from Rita Lee, so we could analyze which rhetorical appeals are applied in the constitution of the ethos of the woman. We highlighted through this analysis, the related aspects to the ethos (the composer’s credibility) and the logos (arguments and figures), just as the pathetic effects awakened in the audience by those songs. The ethos of the resistance and the manifestation of the passion for so long repressed, strongly uncovers in the songs. Regarding the reading in class, we can assure that the songs become rich sources in the formation of competent readers
Esta tese, inserida na linha de pesquisa Leitura, Escrita e Ensino de Língua Portuguesa, do Programa de Estudos Pós-Graduados em Língua Portuguesa da Pontifícia Universidade Católica de São Paulo, tem como tema o estudo da constituição do ethos feminino em músicas compostas por oradores do sexo feminino, bem como a leitura, sob a perspectiva da retórica, dessas músicas em sala de aula. Para que isso fosse possível, fizemos um breve percurso histórico sobre a participação da mulher na música, e da utilização do gênero canção na formação educacional dos jovens desde a Grécia Antiga até os dias atuais. Amparados pelos conceitos retóricos, analisamos as canções Resposta (1958) de Maysa, Essa mulher (1978) composta por Joyce em parceria com Ana Terra, e Pagu (2000) de Rita Lee para assim investigar quais recursos retóricos são utilizados na constituição do ethos da mulher. Evidenciamos, ao longo de nossa análise, aspectos relativos ao ethos (credibilidade do orador) e ao logos (argumentos e figuras), bem como os efeitos patéticos despertados no auditório por essas canções. O ethos da resistência e de manifestação de paixões há tanto reprimidas se descortinou potentemente nas canções. Com relação à leitura em sala de aula, podemos afirmar que as canções tornam-se fontes riquíssimas na formação de leitores competentes
Amaral, Mayara. "A mulher compositora e o violão na década de 1970: vertentes analíticas e contextualização histórico-estilística". Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7348.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present work aims to analyze and present a brief biographical account and the work of Brazilian women composers, with an analysis of the works made in the 1970s. As secondary objectives we search for the contribution to the national repertoire, in the sense of giving visibility to works not much known and played, and to highlight the participation of women in the scenario of Brazilian musical composition, turning the attention to the production of guitar music. To find the works, various search engines were used, such as: catalogs of works, books, as well as interviews conducted during the research. The composers found here are: Lina Pires de Campos, Adelaide Pereira da Silva, Eunice Katunda, Esther Scliar and Maria Helena da Costa. Of the diverse works found, we selected only one piece of each composer, representing their languages and stylistic aspects. The main reference used for the analysis was the book by John White (1976), The Analysis of Music. We also include the precepts of Schoenberg (1996) and Kostka (1999). The results found were some stylistic similarity between some works analyzed here, as well as features that dialogue with the stylistic aspects of the analyzed period.
O presente trabalho tem como objetivo analisar e apresentar um breve relato biográfico e a obra de compositoras brasileiras compostas na década de 1970. Entre os objetivos secundários estão a contribuição para o repertório violonístico nacional, no sentido de dar visibilidade a obras pouco conhecidas e tocadas, e evidenciar a participação da mulher no cenário da composição musical brasileira, voltando o olhar para a produção violonística. Para encontrar as obras, foram utilizadas fontes de busca diversas, como: catálogos de obras, livros, bem como entrevistas realizadas durante a pesquisa. As compositoras encontradas e aqui abordadas são: Lina Pires de Campos, Adelaide Pereira da Silva, Eunice Katunda, Esther Scliar e Maria Helena da Costa. Das diversas obras encontradas, selecionamos apenas uma peça de cada compositora, representando suas linguagens e vertentes estilísticas. O referencial principal utilizado para as análises foi o livro de John White (1976), The Analysis of Music. Incluímos ainda os preceitos de Schoenberg (1996) e Kostka (1999). Os resultados encontrados foram algumas congruências estilísticas entre algumas obras aqui analisadas, bem como aspectos que dialogam com as vertentes estilísticas do período analisado.
Contreras, Maria Elena. "Paradoja: concerto for orchestra [score]". Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/969.
Testo completoD.M.A.
Paradoja: Concerto for Orchestra consists of three contrasting movements: slow, fast, slow (Paradoja = "paradox," Sp.). These movements are framed by a motif that opens and closes each of them, and connects them all. This framing motif is based on an alternation between a rhythmical pattern in the bass drum, and a melody sung by a boy mezzo-soprano, both over a string pedal. The first movement, Lamentos (Sorrows), is dramatic in character; it goes from simple to complex in its orchestration, harmony, texture, dynamics and tempo changes. The second movement, Algarabía (Tangle), reflects a festive affection; it presents a contrast to the first in character, tempo and spirit. The third movement, Sosiego (Serenity) provides a peaceful ending to the piece; it is lighter than the other two movements in texture and orchestration. The general harmonic language of Paradoja: Concerto for Orchestra is non-tonal yet centric, with surface references to functional harmony. However, the pitch content varies from movement to movement. The first movement is highly chromatic and based in the twelve-tone collection. The melodies are created by a combination of small pitch-class sets and sometimes are broken down and distributed among different instruments. Harmony is the result of the juxtaposition and counterpoint of these melodies, which vertically reiterate the same cells or creates new sets. The second movement is based on smaller collections than the first, and it is less chromatic. Contrast is often created by changing the collections or simply transposing them. The third movement is the most homophonic and the least chromatic of all three. It is based on a combination and juxtaposition of diatonic and non-diatonic collections that interact with each other. Paradoja: Concerto for Orchestra is examined in two broad categories. The first is a structural analysis, which includes details of form and pitch selection such as pitch collections, set classes and motives. The second is a stylistic analysis, which includes aspects of style such as rhythm, orchestration. The conclusion refers to the influence of historical models and aspects of the compositional process. Both the structural and stylistic analyses demonstrate how I have tried to merge diverse stylistic music elements to obtain a new personal idiom.
Temple University--Theses
Garrigosa, Massana Maria Teresa. "Les compositores catalanes del segle XIX: Un impuls creador". Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/670264.
Testo completoThe aim of this work has been to search and go deeper into the lives and works of women composers in Catalonia in the nineteenth century, from the first one that we know of, Maria Dolors Vedruna, to the last one who is the object of this study, Maria Lluïsa Casagemas, the first woman that composed an opera, Schiava e Regina (1892), at the age of eighteen. At the beginning of the nineteenth century, there was an awakening of creative awareness in the women's universe of Catalonia. The economic development, the changes in the social structures and the participation of the bourgeoisie in decision-making bodies as important as education were part of the context that made it possible for these women to be not only very finely educated but also learned in the complete and complex sense of the term. The chapters of this thesis are structured in order to provide a general overview, both of the social and educational context of women in the nineteenth century and the life and work of these composers that developed a large part of their artistic creation during the Modernist period. Emphasis has been put on explaining the complexity of the political changes that took place throughout the century, and how they determined the different steps of women's rights development, which mostly took place from the second half of the nineteenth century onwards; from La instrucción en la mujer (1869), by the writer Dolors Monserdà, considered one of the first feminist manifestos, so strongly linked to the different spheres in which these women composers developed their work, the antislavery movement of Clotilde Cerdà, to the convinced and resolute demands of Carme Karr advocating women's vote in the magazine Feminal, in 1917, in the middle of First World War. In the thesis are presented the two different stages of this evolution of creative women in Catalonia. One appears in the context of the first half of the century, where three women composers stand out: Maria Dolors Vedruna, the best known one, Paulina Buxó and Cristina Àngel. In the second period, the number of women composers grew exponentially: about twenty-five composers with written works, for the most part released. From them we have chosen twenty that stand out for the quality of their artistic life and the considerable number of their works. We also refer to their lives in a much broader sense, for we cannot separate their artistic activity from their personal lives. Their creative impulse not only appeared in music, but also in their social and political concerns; many of them achieved a high degree of engagement that led them to begin innovative projects aimed at improving women's status. The methodology applied has been the collection of comprehensive documentation: going through newspaper and periodical libraries, in-depth research of sheet music in libraries and archives, drawing up a list of the works by each one of these women composers, as well as the search for information on them by means of the articles published on the occasion of the débuts of their compositions. Regarding the artists' lives, although there are very few biographies, we have pored over the extensive bibliography available, dictionaries and specialised articles, in order to verify and interpret this information. This analysis presents us with some women that brought about changes that played a major role in transforming different spheres such as artistic creation, teaching and social awareness
Denson, Marjorie Louise. "Music from the Margins: An Autoethnographic Study of the Development of a Jazz Composer’s Voice". Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366579.
Testo completoThesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conseratorium
Arts, Education and Law
Full Text
Ducharme, Jessica Ashley. "The creative identity of women| An analysis of feminist themes in select chamber music theater works by composer William Osborne for trombonist Abbie Conant". Thesis, The University of Iowa, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3595094.
Testo completoThis thesis is an analysis and exploration of the feminist themes present in select chamber music theater works by William Osborne for trombonist Abbie Conant. Before analyzing Osborne's compositions, the author provides crucial background information about the lives and experiences of husband and wife and artistic collaborators William Osborne and Abbie Conant. Specifically, the author addresses the sexism that Conant experienced as a trombonist in the Munich Philharmonic. Osborne composed a new genre of works for Conant to perform as an artistic response to the pain both he and Conant experienced during the thirteen year legal battle with the state of Munich and their desire to create fully integrated musical theater works.
The author traces the evolution of Osborne and Conant's collaboration by examining three works within the genre of chamber music theater: Winnie—Osborne's adaptation of Samuel Beckett's Happy Days; Miriam: The Chair—Osborne's first completely original work; and Street Scene for the Last Mad Soprano. Through personal interviews with Osborne and Conant, the author became aware of Osborne and Conant's influences from Samuel Beckett as well as the formal structure that Osborne uses in his works, and she traces this structure in each work as a method for understanding and organizing the musical and dramatic events. Since Osborne's chamber music theater works require the performer to play a musical instrument, act, and sing, the author employs balanced musicological, dramaturgical, and theoretical analytical approaches when studying each piece.
After addressing the formal and compositional devices that Osborne utilizes in each piece, the author focuses her analysis on the feminist themes that are found in the latter two works: Miriam: The Chair and Street Scene for the Last Mad Soprano, for these two works were written as a direct response to the discrimination that Conant experienced in the Munich Philharmonic. The author provides the transcript from her interview with Osborne and Conant as an appendix to the document.
Scaggs, Leanne. "A Modern Performance Edition of Nina D'Aubigny Von Engelbrunner's Deutsche, Italienische und Französische Gesänge mit Begleitung des Pianoforte". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505194/.
Testo completoContreras, Maria Elena. "Paradoja [dissertation]". Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/926.
Testo completoD.M.A.
Paradoja: Concerto for Orchestra consists of three contrasting movements: slow, fast, slow (Paradoja = "paradox," Sp.). These movements are framed by a motif that opens and closes each of them, and connects them all. This framing motif is based on an alternation between a rhythmical pattern in the bass drum, and a melody sung by a boy mezzo-soprano, both over a string pedal. The first movement, Lamentos (Sorrows), is dramatic in character; it goes from simple to complex in its orchestration, harmony, texture, dynamics and tempo changes. The second movement, Algarabía (Tangle), reflects a festive affection; it presents a contrast to the first in character, tempo and spirit. The third movement, Sosiego (Serenity) provides a peaceful ending to the piece; it is lighter than the other two movements in texture and orchestration. The general harmonic language of Paradoja: Concerto for Orchestra is non-tonal yet centric, with surface references to functional harmony. However, the pitch content varies from movement to movement. The first movement is highly chromatic and based in the twelve-tone collection. The melodies are created by a combination of small pitch-class sets and sometimes are broken down and distributed among different instruments. Harmony is the result of the juxtaposition and counterpoint of these melodies, which vertically reiterate the same cells or creates new sets. The second movement is based on smaller collections than the first, and it is less chromatic. Contrast is often created by changing the collections or simply transposing them. The third movement is the most homophonic and the least chromatic of all three. It is based on a combination and juxtaposition of diatonic and non-diatonic collections that interact with each other. Paradoja: Concerto for Orchestra is examined in two broad categories. The first is a structural analysis, which includes details of form and pitch selection such as pitch collections, set classes and motives. The second is a stylistic analysis, which includes aspects of style such as rhythm, orchestration. The conclusion refers to the influence of historical models and aspects of the compositional process. Both the structural and stylistic analyses demonstrate how I have tried to merge diverse stylistic music elements to obtain a new personal idiom.
Temple University--Theses
Agnevik, Maja. "Sara Wennerberg-Reuter : att vara kvinna och kompositör kring sekelskiftet 1800 / 1900". Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-203498.
Testo completoJacobson, Marin Ruth Tollefson. "Stylistic development in the choral music of Rebecca Clarke". Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/988.
Testo completoCapra, Carlos Augusto. "Music for clarinet by Argentinean composers /". Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Testo completoWillison, Lemke Ann. "Singing Goethe’s Praises. Goethe Songs by Women Composers". Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71966.
Testo completoSandvik, Jan. "Examination concert : Interpreting music by three different composers". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1660.
Testo completoChristoffer Pörn: Tre berättelser för piano
Johannes Brahms: Trio för piano, klarinett och cello op 114
Christoffer Pörn: Tre etyder för piano
Charles-Valentin Alkan: Symfoni för piano op 39
Medverkande: Anna Lisa Mühlig - klarinett, Jessie Liu - cello
Kim, Yeji. "Hybridity in Flute Music of Four Contemporary Composers". Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351532629.
Testo completo