Rozprawy doktorskie: „Music by women composers”

1

Rothenberg, Florie. "Music for clarinet and string quartet by women composers". Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186505.

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This document examines works written by women composers for the ensemble comprised of clarinet and string quartet. A thorough search of clarinet and chamber music repertoire lists as well as reference materials devoted to women composers has yielded twenty pieces composed by women for this ensemble. The quintets by Elizabeth Maconchy, Ellen Taaffe Zwilich, and Ilse Fromm-Michaels are discussed in detail, primarily through analysis of theoretical properties, including formal structure, texture and timbre, harmonic idiom, and rhythmic and melodic language. An evaluation of performance requirements, leading to a determination of the level of ensemble needed for successful presentation is also provided, as is an aesthetic evaluation based on the above-mentioned analysis, existing criticism and personal opinion. A history of each composer's life is presented, with emphasis placed on her education and career. The remaining seventeen pieces are presented in the form of an annotated repertoire list. Ten of these works and their composers are discussed in a format similar to the works above, but in less detail. The composers in this category include: Stefania de Kenessey, Ruth Gipps, Elizabeth Gyring, Katherine Hoover, Nicola LeFanu, Helen Lipscomb, Vera Preobrajenska, Louise Talma, Julia Usher, and Joelle Wallach. Music for the remaining seven pieces has not been obtained, but limited historical data for each composer is provided.

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Fuller, 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.

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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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4

Seddon, Laura. "The instrumental music of British women composers in the early twentieth century". Thesis, City University London, 2011. http://openaccess.city.ac.uk/1172/.

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This study focuses in detail on instrumental chamber music produced by women in the early twentieth century, a particularly fertile and under-represented period with regard to this topic and it draws on aspects of women’s history, British music history and feminist musicology. It argues that the Cobbett competitions instigated by Walter Willson Cobbett in 1905 and the formation of the Society of Women Musicians in 1911 contributed to the explosion of instrumental music, including phantasies, written by women in this period. It highlights women’s place in British musical society leading up to and during the First World War and investigates the relationship between Cobbett, the Society of Women Musicians and women composers themselves. Chamber works for a variety of instrumental combinations by six composers, Adela Maddison (1866-1929), Ethel Smyth (1858-1944), Morfydd Owen (1891-1918), Ethel Barns (1880-1948), Alice Verne-Bredt (1868-1958) and Susan Spain-Dunk (1880-1962) (all at different stages in their compositional careers at this time) are analysed. This is undertaken particularly with reference to their formal procedures, an issue much discussed by contemporary sources. The individual composers’ reactions (or lack of them) to the debate instigated by the Society of Women Musicians on the future of women’s music is considered in relation to their lives, careers and chamber music itself. As the composers in this study were not a cohesive group, creatively or ideologically, the dissertation draws on primary sources, especially the archives of the Society of Women Musicians and Marion Scott, as well as the writings of contemporary commentators, to assess the legacy of the chamber works produced.

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5

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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6

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.

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Throughout the history of band music, works by women have received little, if any, acclaim. While some of the reasons for this lack of acknowledgment are grounded in the historical development of the band and the social restrictions of the times, an even greater problem has been the lack of reference sources concerning band works composed by women. Likewise, the works themselves are frequently unpublished. This study compiles a dictionary of American women composers who have written for band during the period from 1865 to 1996 and a catalogue of these works.The introduction presents a brief analysis of the status of the woman composer and her relationship with the historical development of the band tradition. A guide to the use of the dictionary outlines the decisions that were made in the compilation and presentation of the material. The actual dictionary includes entries for more than two hundred women who have composed at least one original composition for band. Each composer is represented by a biographical sketch including education; list of awards, honors, and grants; reference citations; and a catalogue of known band works. The list of works presents as much information as possible including title, year of composition and/or publication, level of difficulty, duration, and availability. Beyond the biographical entries, the 572 compositions for band composed by women are listed in the appendixes in four different formats: alphabetized by title of composition, alphabetized by composer's last name, listed by level of difficulty, and listed by year of composition or publication.Works range in difficulty from those that are intended for use with a beginner band, to compositions that were commissioned by the professional service bands of the United States. It is no surprise that the majority of these works were composed post-1970. The study makes no attempt to evaluate the musical value of any of the cited works, but rather is intended as an initial reference on the subject. It also raises several questions concerning the place of these works in the marketplace and in relation to other creative fields.
School of Music

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7

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.

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Marcho, 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.

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Taliani, 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.

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Barber, 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.

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This 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.

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11

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.

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Salido, 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.

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13

Billock, 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.

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Martin, 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.

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Goh, 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.

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In the age of postfeminism and fourth-wave feminism online, Australian women composers are theoretically able to “have it all,” however, the proportion of women in the occupation appears to have plateaued in recent years. In this thesis, I explore the multiple ways in which gender and feminism interact with practising Australian women composers. Feminist musicology has had a large impact on the Australian musicological scene, with theorists such as McClary and Macarthur bringing the subject of women in music to the fore in the 1990s, aiding efforts to advocate for reform on behalf of women composers. Additionally, third-wave feminist scholars such as Hartsock have argued for the study of women’s experiences within maledominated disciplines such as musicology. Using feminist standpoint theory as a foundation, this thesis examines the experiences of practising Australian women composers, finding multi-faceted and contradictory views of feminism and gender. A principal case study of composer Kate Moore examines how gender has shaped her career trajectory. Finally, a neo-Riemannian analysis of Moore’s work, Violins and Skeletons (2010), illustrates how gender may shape compositional strategies, speculating upon the fraught relationship women composers have with the conventions of Western art music because their work implicitly functions outside of, or against, the canon. This research highlights the importance of studying minority experiences in musicology, and how they relate to the dominant aesthetic and intellectual traditions.

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Musselman, 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.

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Almeida, 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.

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Orientadora: Lúcia Helena Oliveira Silva
Banca: 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

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18

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.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1989.
Typescript; issued also on microfilm. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 322-324.

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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.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.
Typescript; issued also on microfilm. Sponsor: Jan Eric Douglas. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 215-217).

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20

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/.

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Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of analysis serves as a means to guide musical decisions in the actual performance of the works. The conclusion briefly discusses performance practice issues and the possibility of a turn-of-the-century feminine aesthetic.

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Evans, 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.

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Robb, 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.

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This thesis considers the musical response of the American composer, Miriam Gideon to political events during the McCarthy era. It examines the interrelationships between politics, society and culture and considers how these are reflected in two works, Epitaphs from Robert Burns (1952) and Altered Steps to Altered States (1953) that Gideon composed during this period. Specifically, this thesis focuses on Gideon’s transition from teaching and composing music within an academic setting to preparing for life in a musical world, without support from mainstream academic institutions. Following the Introduction, Chapter 2 documents the rise of anti-communist practices on campus at Brooklyn College and City College, New York City where Miriam Gideon held music teaching posts. It reconstructs the personal events that led to the loss of both of these appointments and examines how and why this occurred. It is argued that Gideon entered a period of ‘inner exile,’ and this concept and its consequences for Gideon are explored in Chapter 3. An examination of her private diaries demonstrates that the effects of the McCarthy era were not only physical, but also psychological and social. Chapters 4-6 consider Gideon’s music through the perspective of inner exile and aim to show that the music that she wrote was a reflection of her experiences. Gideon’s return to academia in 1955 and her rehabilitation back into the academy are discussed in Chapter 7. A complete list of Gideon’s compositional output is included and is organised chronologically, alphabetically and by genre. This thesis examines new documents not previously available to scholars, and includes interviews conducted by the author with Gideon’s former students and colleagues.

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Howley, 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.

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While there has been considerable examination of the under-representation of women in music over the past four decades, little is focused on wind band composition in the Australian context. Similarly, there is limited literature investigating the role that conductors may play in addressing this situation. This inquiry utilises action research methodology and the researcher’s artistic practice to seek strategies that may be employed by conductors to assist in achieving greater gender equality for Australian women composers of wind band music. Using data from interviews with six Australian women composers and a survey of 79 Australian wind band conductors, a greater understanding of the current situation and the potential methods for change are established. Data from the interviews, survey and literature review were analysed via the NVivo software using a hybrid model involving both inductive and deductive thematic analysis. Key findings include the significance of professional networks and educational contexts as well as a need to address repertoire accessibility challenges. A notable outcome of this research is the development of the changemaker conductor model, which outlines how a conductor’s professional practice and sphere of influence can effect change. The inclusion of a portfolio of the researcher’s artistic practice supports this model. Additionally, an examination of the current Australian wind band repertoire was undertaken, revealing a low representation of women composers, and methods for increased generation of new music were investigated, leading to the development of the Australian Women’s Wind Band Composition Award as an exemplar. Finally, the significant potential of educational contexts to create positive change in the field is demonstrated, and implications for educators and institutions are outlined.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
Full Text

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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/.

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Young Ja Lee (b. 1931) is regarded as one of the most important living female composers in Korea. She leads and contributes to the Korean classical music society as a gifted composer and a dedicated educator. This study focuses on how she has combined Western compositional techniques with elements of Eastern traditional music in some of her compositions, in particular, her Variations pour piano "Umma ya, Nuna ya." An interpretation of her Variations pour piano "Umma ya, Nuna ya" reveals that the composition features many of the particular and sublime aspects of Western compositional techniques in conjunction with traditional Korean music style. This study is an investigation of the interaction and assimilation of these disparate elements. The results of this study may inspire further research into traditional Korean music and bring recognition to important Korean composers, as well as encourage music educators to teach Korean composers' compositions.

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Scarinci, 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.

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Orientador: Helena Jank
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-08T03:12:02Z (GMT). No. of bitstreams: 1 Scarinci_SilvanaRuffier_D.pdf: 2871057 bytes, checksum: 1ee2088b08c8ed4f846cbdf040db486e (MD5) Previous issue date: 2006
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

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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.

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Edelman, 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/.

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The intent of this dissertation is to identify and analyze several pieces by female composers that are technically suitable for the specific development of an advanced Suzuki violin student studying in Suzuki books 7 or 8. The selected pieces can then be used by trained Suzuki teachers, in conjunction with the male-composer-dominated Suzuki repertoire, to enhance students' technical development while also increasing their well-rounded musicianship by exposing them to female composers. The development of off-the-string bow strokes, string crossings, shifting, left-hand articulation and musical expression will be traced through the first six volumes of the Suzuki repertoire in order to understand a Suzuki student's expected abilities pertaining to these technical elements when beginning the repertoire in books 7 and 8. Pieces by female composers highlighting and enhancing the referenced techniques will be identified and analyzed in a similar manner. These pieces will be compiled into a document for Suzuki students and teachers to use, along with appropriate editorial markings and biographies of the composers. This document can be an inspirational supplement to Suzuki students' musical development and help develop an awareness of female composers.

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Karlstrom, 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.

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The 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.

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Miguel, Nicholas Edward. "The art songs of Modesta Bor (1926-1998)". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6213.

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This essay introduces readers to the music of the Venezuelan composer Modesta Bor (1926-1998) and provides a resource for interpretation of her art songs for voice and piano. Bor was an important composer in Venezuela with a successful career in composition, pedagogy, and conducting. However, she is not widely known outside of Venezuela and scholarship on her art song is limited. This study seeks to fill that void by examining Bor’s twenty-nine published art songs for solo voice and piano. These works include the song cycles/collections Tres canciones infantiles para voz y piano, Canciones infantiles, Primer ciclo de romanzas para contralto y piano, Segundo ciclo de romanzas para contralto y piano, Tríptico sobre poesía cubana, and Tres canciones para mezzo-soprano y piano, as well as nine ungrouped songs. Bor’s art songs are notable for her imitation of Venezuelan folk and popular music in the vein of Figurative Nationalism, her sophisticated harmonic language, and neoclassical techniques such as ostinato and motivic variation. This essay aims to help performers begin to understand the allusions to the national music of Venezuela. Her music elevates the llanero, the common rural laborer, and comments on the social issues of her people. This essay provides a brief history of Venezuelan music, a biography of Bor, and brief biographies of the poets used. It also contributes original poetic and musical analyses of her art songs, exploring the areas of form, melody, rhythm, and harmony. Venezuelan Spanish and the lyric diction appropriate for Bor’s songs are discussed. Poetic translations, word-for-word translations, and International Phonetic Alphabet transliterations are included for all of the poetry used.

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Aichele, 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.

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x, 100 p. : music
This 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 Who's Who, Cohen, and the MacMillan. For this study I use archival material, newspaper advertisements and articles, and secondary sources about Portland and Oregon history.
Committee in charge: Anne Dhu McLucas, Chair; Lori Kruckenberg, Member; Loren Kajikawa, Member

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Michelsen, Catherine Bingman. "Julius Eichberg (1824-1893): Composer and String Pedagogue". Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/323447.

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This document examines the life and string pedagogical contributions of German-American violinist, composer, and pedagogue Julius Eichberg (1824-1893). Biographical information about Eichberg is presented to demonstrate his expertise in the areas of education and performance, as well as to provide some context for his compositions. As little has been written about Eichberg and his contributions to music and music education, much of the information gathered about his life and musical background was found in primary sources in the form of scrapbooks compiled by Eichberg and his daughter. These scrapbooks are housed in the Special Collections at the Boston Public Library. Three of Eichberg's intermediate-level chamber works were selected for the dual purposes of examining their pedagogical worth and editing and clarifying the fingerings and bowings for use by current string students. The American String Teachers' Association Certificate Advancement Program guidelines and the Christina Placilla/Kenneth Law String Quartet grading guidelines were used in conjunction with one another to determine the appropriate placement of the three selected Eichberg works in the extant chamber repertoire. The document includes both facsimiles of the original works transferred from microfilm and the newly edited parts.

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Neiva, Tania Mello. "Cinco mulheres compositoras na música erudita brasileira contemporânea". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284395.

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Orientador: Lenita Waldige Mendes Nogueira
Dissertação (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

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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/.

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Clarinet works by Taiwanese female composers are not well researched or catalogued, and to date, and no comprehensive research codifies this subcategory in Taiwan or elsewhere. A comprehensive research and bibliography is necessary to the international community. It is hoped that through this annotated bibliography, readers will gain a deeper understanding of this genre. This study contains a brief history of Taiwan's Western music history, the female composers' history in Taiwan, and literature review. A total of twenty compositions by eighteen different Taiwanese female composers are discussed in the annotated bibliography, including thirteen for unaccompanied clarinet and seven for clarinet and piano. Information includes a brief biography of the composer, the date of composition, duration, premiere, dedication, commission, location of the score, difficulty and commentary on the piece.

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Smith, 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.

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Thesis (Master of Music)--University of Cincinnati, 2007.
Advisor: 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.

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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.

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Graner, 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.

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Lyra, 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

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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.

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Contreras, Maria Elena. "Paradoja: concerto for orchestra [score]". Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/969.

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Music Composition
D.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

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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.

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En aquest treball s’ha sistematitzat, descobert i indexat un repertori que fins ara no s’havia estudiat, l’obra de les compositores que visqueren a Catalunya durant el segle XIX, des de la primera de la qual tenim referència, Maria Dolors Vedruna, fins a la darrera de que és objecte aquest estudi, Maria Lluïsa Casagemas, la primera dona a escriure una òpera, Schiava e Regina (1892), a l’edat de 18 anys. A principis del segle XIX va haver un desvetllament en la consciència creadora de l’univers femení a Catalunya. El desenvolupament econòmic, les transformacions en l’estructura social i la participació de la burgesia en òrgans de decisió tant importants com l’educació, van formar part del context que va permetre que aquestes dones fossin no només educades exquisidament, sinó també instruïdes amb el sentit complet i complex de la paraula. Els capítols de la tesi estan estructurats amb l’objectiu de donar una visió generalista tant del context social i pedagògic de la dona al segle XIX, com de la vida i obra d’aquestes compositores que van desenvolupar una gran part de la seva creació artística durant el període modernista. S’ha fet èmfasi en explicar la complexitat dels canvis polítics que es van anar succeint al llarg de tot el segle, i com aquests van condicionar en els diferents estadis de reivindicació femenina, els quals es van donar, sobretot, a partir de la segona meitat de segle; des del considerat un dels primers manifestos feministes a Catalunya, La instrucción en la mujer (1869), de l’escriptora Dolors Monserdà, tant vinculada amb els diversos àmbits en que van desenvolupar la seva tasca aquestes compositores, passant per l’antiesclavisme de Clotilde Cerdà i ja en plena Primera Guerra Mundial, el reclam convençut i decidit de Carme Karr defensant a Feminal, ¡El vot a la dona!, l’any 1917. A la tesi s’exposen les dues etapes diferenciades que hi ha en el camí d’aquesta evolució de la dona creadora a casa nostra. Una la trobem emmarcada en la primera meitat de segle, en ella hi destaquen tres compositores, Maria Dolors Vedruna, Paulina Buxó i Cristina Àngel, sent la més destacada la primera d’elles. En el segon període, el nombre de compositores s’amplia exponencialment, i trobem un nombre aproximat de vint-i-cinc dones amb un nombre important d’obra escrita i una gran part d’ella editada. D’aquestes n’hem triat vint que destaquen per la qualitat artística i per la quantitat de la seva obra. També es parla de la seva vida en un sentit molt més ampli, ja que en elles no es pot deslligar l’activitat artística de la personal. L’impuls creador no només el projectaran en l’àmbit musical sinó que també es veurà reflectit en les inquietuds de caire social i polític on moltes d’elles assoliran un grau de compromís important, que les portarà a emprendre projectes innovadors per a la millora de la condició de la dona. La metodologia utilitzada ha estat la recopilació de documentació exhaustiva: buidatge d’hemeroteques, recerca en profunditat de partitures en biblioteques i arxius, confecció d’un llistat d’obres de cada una de les compositores i, recerca d’informació de les mateixes a través dels articles publicats amb motiu de l’estrena d’aquestes composicions. En quant a la seva trajectòria vital, tot i de no disposar a penes, de biografies de les artistes, s’ha consultat un gran nombre de bibliografia, diccionaris i articles especialitzats, contrastant i interpretant aquesta informació. Tota aquesta valoració ens mostra unes dones que portaren a terme canvis amb un impacte transformador, en àmbits tant diversos com el de la creació artística, la pedagogia i la consciència social.
The 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

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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.

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This is a multi-modal, authoethnographic study which examines the development of my voice as a composer. It consists of a folio of music scores, two CD recordings, and an exegesis. The principal question of how my musical identity has been shaped by my experiences as a jazz practitioner has been examined through composing music, personal writing and reflection, and an examination of relevant literature. The compositions reveal the main influences in my musical identity - jazz, western art music and Latin music, as well as their connection to the places which have inspired their creation. They range from an art song cycle to Afro-Cuban dance music, reflecting the hybrid nature of my practice. The exegesis makes use of contemporary feminist musicology and cultural studies to examine the nature of my experiences as an Anglo-Canadian/Australian woman pianist trying to find her place in strongly male-identified Latin and jazz music communities. It addresses the historical eclipsing of the role of women in jazz, and examines the negotiation of gender dynamics in the job market and on the band stand in the various communities where I have lived and worked. Both the music and the narrative seek to add a unique voice to the ever-evolving and diversifying story of jazz in the 21st-century.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conseratorium
Arts, Education and Law
Full Text

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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.

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This 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.

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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/.

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This dissertation examines the work of German composer and vocal pedagogue Nina d'Aubigny von Engelbrunner through her collection of songs entitled "Deutsche, Italienische und Französische Gesänge mit Begleitung des Pianoforte," published in 1797. A brief overview of the life and works of Ms. d'Aubigny is provided, followed by a discussion about the "woman question" as it relates to Ms. d'Aubigny's works. The second part of this project includes a new, modern performance edition of the collection of songs, complete with general editorial guidelines, notes and translations, and a critical report detailing all deviations from the original 1797 edition.

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Contreras, Maria Elena. "Paradoja [dissertation]". Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/926.

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Music Composition
D.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

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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.

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This essay presents an example of the musical life of a female composer active in Sweden during the late 19th and early 20th centuries. Through a case study on composer Sara Wennerberg-Reuter (1875-1959), the essay contributes information to her biography, which had been lacking specific details. Wennerberg-Reuter's biography has been discussed regarding traditional roles of women in music, her relationship to her own artistry and other active women composers, and finally the contemporary reception of Wennerberg-Reuter as a legitimate composer. Aesthetical theories prevalent during Wennerberg-Reuter’s life has been applied in these discussions, such as those presented by Citron, Öhrström and Hanson, combined with Citron's additional theories considering masculine/feminine elements in the musical approach. The main conclusions reached regarding the specific conditions enabling a professional status as a composer and woman in Sweden during the given time are; a) the liberal permission by the family to pursue higher education in composing, since this was in opposition to the traditions of the time. b) the access to a network of musically active women, from which a sense of being part of a female community can be created. c) the acceptance from musical institutions such as higher educations, composer's societies and media critics.

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Jacobson, Marin Ruth Tollefson. "Stylistic development in the choral music of Rebecca Clarke". Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/988.

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Until the recent publication of twelve choral compositions, Rebecca Clarke (1886-1979) was known solely as a professional violist and composer of chamber music and art songs. Clarke composed choral music throughout her active period from 1906 to 1944. In 2004, the first study of Clarke's complete compositional output provided an introduction to the choral music, but only covered selected works. The present study traces the development of Clarke's compositional style through chronological analysis of all twelve choral compositions and an incomplete fragment. Clarke's choral music reveals the selection of high quality, expressive texts; exploration of the timbral, registral, and textural potential of unaccompanied choral music; changes in the treatment of all musical elements; the persistent acquisition of new techniques; and reliance on English choral genres including the madrigal, glee, carol, part song and motet. Chapter one establishes Clarke's importance through a survey of publication, criticism, and scholarship. The chapter also examines the society in which Clarke lived and the issues women composers encountered. A biography then reveals that despite obstacles, Clarke tenaciously pursued compositional study, eagerly acquired new techniques, and expressed enthusiasm for each compositional project. Her skill was confirmed by success in competitions and festivals. Throughout her active period, Clarke supported herself as a professional violist who specialized in chamber music, and a busy performing schedule limited her compositional work. Chapter two documents Clarke's formative vocal- and chamber-music experiences and suggests that her thorough knowledge of chamber music influenced her approach to choral composition. The chapter continues with analysis of Clarke's first seven choral works. The first three are well-crafted part songs that demonstrate Clarke's assimilation of basic compositional techniques. The next four show the increasing complexity of Clarke's style that culminates in her mature masterpiece, "He That Dwelleth in the Secret Place of the Most High." Chapter three presents analysis of three choral arrangements, two works for women's voices, and a choral fragment for mixed voices. The last five complete choral compositions confirm elements of Clarke's mature style and demonstrate her interest in exploring the new challenges of choral arranging and writing for women's voices. While Clarke's choral arrangements of her own songs are idiomatic adaptations for unaccompanied, mixed voices, the last three compositions display the diversity of styles Clarke employed in her late works. Chapter four summarizes changes in Clarke's choral style from 1906 to 1944, examines reasons for her obscurity, and raises questions that merit further research. The appendix which follows clarifies Clarke's intentions and illustrates common editorial issues and solutions through comparison of choral manuscripts and published editions.

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Capra, Carlos Augusto. "Music for clarinet by Argentinean composers /". Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Willison, Lemke Ann. "Singing Goethe’s Praises. Goethe Songs by Women Composers". Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71966.

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Sandvik, 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.

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This text is a personal reflection on my examination concert that took place on 17th May 2014. Instead of just preparing and performing a concert and then moving on to new projects, the writing of this text offered me a chance and an obligation to thoroughly reflect upon my work. I will shortly motivate how I made my choice of repertoire and why I chose the particular pieces. I wanted to make up an interesting program of pieces of different character. I also wanted to find pieces that would challenge me in different ways. I will then write about each piece and discuss the problems and challenges I had to solve and find a solution to. I will have a slightly different approach when discussing the different pieces. Regarding Alkan, after a brief introduction to the composer and the piano symphony, I will mainly focus on how to deal with and tackle the complex and highly demanding piano writing. Concerning the piano pieces by Pörn I will write about the emergence of them and describe them briefly. As I have had the opportunity to consult the composer while preparing his music, our cooperation has not only enabled me to get a detailed insight to his music, but it has also resulted in the composer making changes and rewriting certain passages. I will present some of these modifications, which for the most part appeared in the etudes. When it comes to the trio by Brahms, I will give an overview of some of the challenges in the piece, concerning ensemble playing and technically demanding passages in the piano part. Thereafter I will analyse the concert, first by writing about the impressions I had during and immediately after the concert, then by writing about the observations I gathered from listening to the recording. I found out that, in order to find solutions for certain interpretational or technical challenges, one needs to go beyond the printed score to find meaning, in other words, what it is that the composer wants to say. Sometimes there can be a discrepancy between the composer’s musical message and his suggestion of its execution. In some cases the performer has to decide whether he wants to carry out the composer’s instructions to the letter, or rather to find an own way of delivering the musical message.

Christoffer 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

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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.

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Rozprawy doktorskie na temat „Music by women composers”

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