No description available.

This thesis examines music and its relationship to gender and the related social commentary woven throughout New Woman writing, putting forth the New Woman musician figure for consideration. In contrast to the male-dominated world of Victorian music, New Woman fiction is rife with women who not only wish to pursue music, but are brilliantly talented musicians and composers themselves. These women are the focal point of this thesis. The primary texts used are Kate Chopin’s The Awakening (1899); Sarah Grand’s Ideala (1888), The Heavenly Twins (1893), and The Beth Book (1897); George Egerton’s Keynotes (1893), Discords (1894), Symphonies (1897), and Fantasias (1898); George Moore’s Evelyn Innes (1898) and Sister Teresa (1901); and Mona Caird’s The Daughters of Danaus (1894); with George du Maurier’s Trilby (1894) (and, to a lesser extent, the Moore texts) offered in contrast to the foregoing. This thesis seeks to answer the following question: what is music’s function in New Woman fiction, and to what end? Each chapter offers an answer to this question using different areas of women’s musicianship: stifled musicians, performers, composers, and auditors. In addition, the penultimate chapter works toward a theory of “melopoetic composition,” or the blending of literary and musical composition, and discusses the role of mirror neurons in creating a unique reading experience which is visual, aural, and neural. Ultimately, this thesis illustrates that the sister arts of music and literature were woven together by the sisterhood of the New Woman writers, who used fiction as a medium through which to assert their multi-layered creative capabilities.

No description available.

This thesis investigates the theory and practice of song criticism from a primarily literary perspective. It maintains that much contemporary song criticism deals inadequately with the complex relationships between verbal, vocal and musical texts that comprise the three basic elements of the modern song. To justify this claim, and to grasp how the current situation might have arisen, the thesis delves into the history of song and traces its developments. It concludes that modern and classical song differ in ways that the "serious vs. popular" debate do not address: autonomy of authorship, frame of reference, and proper context for interpretation. To remedy this situation, the thesis anatomizes modern song and outlines a "top-down" approach to song criticism with lyrics as the primary frame of reference, supplemented by emotive cues found in the music and vocal performance. Concurrently, the anatomy is put into practice, using examples from the unofficial canon of modern song.

Thesis (Ph.D.) - University of Glasgow, 2008. / Ph.D. thesis submitted to the Department of English Literature, University of Glasgow, 2008. Includes bibliographical references. Print version also available.

Thesis (Ph. D.)--Princeton University, 1910. / Bibliography: p. [175]-178.

Thesis (doctoral)--Rijksuniversiteit te Utrecht, 1982. / Summary in German. Includes indexes. Includes bibliographical references (p. 207-208).

Thesis (Ph. D.)--Rutgers University, 2010. / "Graduate Program in Literatures in English." Includes bibliographical references (p. 243-256).

Thesis (Ph. D.)--Universität Zürich, 1944. / Vita. "Lieder von Heinrich Leuthold. Mit einer Singstimme von Carl Spitteler" (p. 205-206). Includes bibliographical references (p. 206).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. Includes bibliographical references (leaves 228-241).