This thesis aims to contribute to the exploration and understanding of the development of the symphony and symphonic thinking in Polish music in the second half of the twentieth century. This was a period when Polish composers, such as Lutoslawski, Grecki and Penderecki, among others, contributed profoundly into the symphonic repertoire, not only in the Polish context but worldwide. To understand the changes and developments of the genre after 1956 in Poland, it is necessary to discuss the evolution of the symphony, as well as its role and functions, both in general and in Polish music. Therefore, Chapter One deals briefly with the history and theory of the genre, from its beginnings in the eighteenth century, through its transformations in the period of Romanticism, marked by the appearance of the concert overture and the symphonic poem until its developments in the twentieth century. Chapter Two examines the symphonic tradition in Poland from its appearance on the Polish musical scene until the middle of the 1950s in the context of trends pointed out in Chapter One. The year 1956, when the first International Festival of Contemporary Music 'Warsaw Autumn' was held, provides a significant caesura, as it was then that Polish music entered its avant-garde period. Chapter Three, which is the most extended, explores the transformation of the symphony and symphonic principles in the years of the musical avant-garde, which was a time of great artistic ferment in Polish music, bringing many interesting reinterpretations of symphonic features. The symphony as a genre was almost entirely neglected, particularly in the first years of musical avant-garde (1956-65), and the elements of symphonic thinking appeared in other orchestral works. Therefore, a considerable amount of space will be devoted to discussing the symphonic music of the period, besides symphonies as such. The avant-garde period is given special attention as the innovations made by Polish composers, both in symphonic form and, even more, in musical language and techniques (particularly sonorism), hugely influenced the later development of symphonic music in Poland. Chapter Four, concluding the thesis, is devoted to the trends which spread over the country from the middle of the 1970s, opening the post-avant-garde era, with its recreation of the large-scale symphony, as well as the symphonic poem, referring back to the late-Romantic traditions on the one hand and aiming to synthesise the experiences of the whole century on the other. The indicated trends and functions of the symphony in this period link back to the categories marked in Chapter One. A short Postscript gives some information on symphonic activity in Poland following the death of Lutoslawski in 1994.

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All seven compositions in the portfolio combine remnants of tonal thinking with post-tonal compositional procedures, such as patterns involving intervallically symmetrical lines and verticals. Several of the pieces extensively explore rhythmic patterning and the use of irrational time signatures. Much of the material, which is generally highly heterogeneous, briefly alludes to music laden with connotations (such as the music of the past, the sound world of much postmodern music and diverse genres of contemporary popular music) before being extensively transformed, developed, or dissolved as it merges into the unifying flow that gives character and meaning to each piece. Wandering Shadows, for cello and piano, alludes to Classical and Romantic gestures outlining a sonata-like design, thus creating diverse modes of relationship with the musical past. For Yeliz, for solo piano, creates a dialogue between the mechanical aspects of the piano and its lyrical possibilities. Each of these strands is supported by the use of distinctive harmonies, rhythms, and registers often alluding to various types of music along the way. Tangled Up, for fifteen players, unfolds different musical ideas both simultaneously and diachronically. This multiplicity ranges from a chordal canon resulting in symmetrical intervallic harmonies in irrational metres to the use of quasi-tonal material. Soloing Over is a concertante piece for piano where the soloist and ensemble continuously strive to influence each other. The piano at times assumes an almost improvisatory character through its multiple ways of commenting, responding, interacting and interlocking with the ensemble’s material. Vocalise, Then A Song, for mezzo-soprano and five players, evokes the recurrent patterns that move in a single direction often found in vocalises. Here these patterns involve a series of ascending symmetrical harmonies with gradually smaller intervals. The 'song' exhibits a dense texture where all the different elements contribute simultaneously to the underlying tension that drives the melodic flow. As its title implies, Around Promiscuous Beats, for solo double bass and ensemble, involves the recurrence of melodic lines, harmonic sequences or rhythmic patterns that are constantly diversified, varied and often interrupted by interjections reminiscent of contemporary popular dance or R&B music. Sospirando Silhouettes, for period-instrument orchestra, draws its inspiration from Aria II – Eva, from the oratory Morte d’Abel by the Classical-period Portuguese composer, Pedro António Avondano (1714-1782). In this piece the Classical-period gestures are either superimposed and/or swiftly developed into other types of music.

This thesis is the first analysis of orchestral music in Northern Ireland, and the first academic project that has focused on any aspect of musical life in Northern Ireland in the post-Second World War era. CEMA/ACNI's music subsidy and BBC music policy are examined in tandem, as these two organisations were the primary sponsors of orchestral music in the region during this period. In 1945, there was no professional orchestral ensemble in Northern Ireland, though over the ensuing years a number of developments took place in the sphere of orchestral provision. The first of these was the establishment of the part-time BBC Northern Ireland Light Orchestra in 1949, a studio-based ensemble of fifteen players. The formation of the City of Belfast Orchestra followed in 1950, a semi-professional orchestra that was heavily reliant on the participation of BBC Northern Ireland players. In 1965 the BBC extended the contracts for its BBC Northern Ireland Light Orchestra from part-time to full -time, leading to the situation whereby the City of Belfast Orchestra was no longer sustainable. The City of Belfast Orchestra was subsequently disbanded, and in 1966 ACNI formed the Ulster Orchestra, a full-time orchestra of37 players that was dedicated to concert-giving and education work throughout Northern Ireland. Despite some initial successes, it soon became apparent that the Ulster Orchestra was living well beyond its means, and in 1969 a reappraisal of the orchestra's position was undertaken. Under the auspices of the Northern Ireland government's Operations and Methods department, a report was issued which recommended the amalgamation of the Ulster and BBC Northern Ireland orchestras. Both ACNI and the BBC were amenable to this, though in 1974 the Musicians' Union rejected the proposed merger. ACNI reacted to this rejection by commissioning a Working Party to assess the Ulster Orchestra's situation. In 1976 this Working Party presented its findings, and once again recommended a merger with the BBC Northern Ireland Orchestra. Proposals for this second amalgamation attempt were met with resistance from the players of both orchestras, though in 1981 the BBC NI musicians were recruited into an enlarged Ulster Orchestra of 55 players.

An attempt to define the facets of contemporary concerto composition: a practical exploration of modelling that investigates the roles of contrast (concerto) and cooperation (concertante) aesthetics and virtuosity. Chapter 1 outlines what is meant by the term “reactive originality”, some thoughts regarding the use and presentation of virtuosity in music and outlines the difficulties of defining the facets of a modern concerto. Chapter 2 charts the creative process behind the solo piano music, Scorpio, Aeon and Solilodrama. Taking each Bagatelle in turn, technical analyses are used to highlight the role of the Piano Bagatelles as miniature studies, discussing the compositional process behind them and their influence upon subsequent pieces. The final section covers how the Capriccio was conceived and how it can be seen as a culmination of the creative work up to this point. Chapter 3 covers the composition of Introduction and Allegro, noting the shift in focus from a single soloist to examining the ensemble as a virtuosic entity. Brief analyses are used to cover its influences and creative processes and to outline how these pieces demonstrate a new focus on thematic unity. In chapter 4, I demonstrate how The Death of Stars and ... a white haze through which the moonbeams passed ... use the lessons learnt in previous pieces to attempt to conclude the investigations into concerto and concertante idioms. Chapter 5 discusses any conclusions that can be drawn from the completed work and reflects on the impact that the project has had on my thinking, technique and artistic development as a composer.

Rachmaninoff was not only a fine composer but also an extraordinary pianist. Due to his virtuosity, he established a powerful interpretative style for his music that clearly influenced his contemporaries. However, the way people have performed his piano music has changed over the years. In this thesis, I show how the recorded interpretations of some important figures have become 'authoritative renditions' for other pianists to follow and argue that these have caused performance fashions to change in specific areas and periods. From time to time, pianists have also reacted against existing norms. In the last two decades, fashions seem to have altered again: many pianists are now starting to return to an 'authentic' Rachmaninoff style in their performances. Since a performance takes place in a historical and cultural context, it is necessary to trace the context behind the sound. The thesis starts by discussing the meaning of performing schools (Chapter One), and the characteristics of the early Russian Piano School to which Rachmaninoff belonged (Chapter Two). Chapter Three focuses on Rachmaninoff’s own performance style. Examining the characteristics of his playing, I use the features of the early Russian Piano School to examine the extent to which Rachmaninoff’s performances were characteristic of the Russian tradition. Chapter Four discusses how pianists have played Rachmaninoff’s solo pieces over time, and Chapter Five how pianists have developed their editorial approaches and structural ideas when playing the composer’s Piano Concertos Nos. 2 and 3. While Chapter Four underlines the changing fashions across generations, the two case studies in Chapter Five suggest that recordings may have played a more significant role in this change than the score. In Chapter Six, I go back to the question of being ‘authentic’ and summarise different perspectives from my interviews with pianists, to see how they view these issues. I conclude the thesis with suggestions for further study.

This thesis examines the leadership role of the orchestral conductor. Conducting is one of the most visible manifestations of leadership in action. Because of this, references to conductor leadership can be found in literature on management and studies into organizational leadership as well as seminars aimed at corporate leadership. However, issues of leadership appear to form only a tangential part of conductor training and development. Compared to the in-depth study of musicianship and gestural technique, leadership appears to be a skill left to ‘on-the-job’ experience and with minimal reference to existing studies and understanding of leadership. In order to explore further the nature of the conductor’s leadership role, a survey of 31 aspiring conductors from eleven different countries forms the original research element of this thesis. The survey is comprised of seven open-ended questions and includes questions on the perceived relevance of leadership in conducting orchestras, role models, leadership metaphors from other disciplines, and exposure to issues of leadership during training. The survey material is analysed and then discussed with reference to established leadership theory. In addition, reference is made to the views of established conductors to be found in openly available interviews. The question that lies at the core of this thesis asks whether leadership skills are relevant to conducting orchestras. And, if so, are there ways in which aspiring conductors can be helped to assimilate these skills? In addition, the investigative nature of the literature review seeks to pull together all the strands of scholarship that find inspiration for other fields from the leadership role of the conductor. The conclusion proposes three elements to understanding conductor leadership: exploring personal authenticity, two theoretical leadership frameworks (conductor leadership continuum and modes of leadership) and practical suggestions for accelerating leadership experience including real-time mentoring and an increased emphasis on the direct interaction between student-conductor and orchestra.

The musical life of interwar France (1919-39) has fascinated many writers however, the part played by women musicians has been much neglected. This thesis seeks to rectify this situation by presenting a study of the activities and reception of the musiciennes of interwar France. The thesis is divided into three parts: part one provides a contextual framework within which to situate the pursuits of women musicians by considering both their contemporary social position and the gender- specific conditions which affect the lives, careers, and reception of musiciennes. Part two focuses on conductors and composers. Jane Evrard and her Orchestre fminin de Paris are discussed within the context of the contemporaneous development of the all- woman orchestra and rise of the first professional female conductors. The career of Germaine Tailleferre is considered as a case study of one of the most high-profile women composers. Her activities are placed against a backdrop of the wider contributions of compositrices, including Armande de Polignac, Marguerite Canal, Jeanne Leleu, Elsa Barraine, Yvonne Desportes, Claude Arrieu, Claire Delbos- Messiaen, and Marcelle de Manziarly, and the female candidates of the interwar Prix de Rome competition. Part three examines women such as Marguerite Long, Nadia Boulanger, and Wanda Landowska as performers and pedagogues, the reactions of contemporary critics, and discusses the subsequent reception of the musiciennes. A number of complex reasons are suggested to explain the current obscurity of many of the women, including the paradigm shift in French musical aesthetics after World War Two which tended to favour the Total Serialism propagated by Boulez, the concomitant decline of the professional all-women orchestras, and the commercial disadvantages which affect the promotion of women's music. By offering a reassessment of the musiciennes of interwar France this thesis poses a case for their full inclusion within the mainstream music history dedicated to this period.

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Classical music organisations across the UK are under increasing pressure to grow and diversify their audiences. ‘Populist’ concerts are designed to attract new audience members by being more accessible and informal than core classical concerts, with programmes structured around well-known short pieces within a broadly-defined classical repertoire. Populist programming has been criticised in mainstream press for ‘dumbing down’ classical music in favour of attracting larger audiences. This thesis investigates how the distinction between populist and core programming is perceived and negotiated by audiences for a regional symphony orchestra, in order to explore cultural hierarchies operating in classical music today. This thesis is the product of a three-year Collaborative Doctoral Award with the City of Birmingham Symphony Orchestra (CBSO). It was intended to supplement the orchestra’s existing knowledge of their audiences, whilst reflecting on the value and challenges of conducting academic research within the arts industry. Semi-structured interviews were carried out with 42 CBSO attenders from core and populist classical concerts, using Interpretative Phenomenological Analysis to investigate how participants evaluate and assimilate their experiences of live classical music. The interviews explored participants’ musical engagement over a lifetime, considering: routes into concert-going, the decision to attend, the value of concert-going to the individual, the live concert experience, and their views on the classical music industry. This qualitative study was complemented by quantitative analysis of the orchestra’s customer records and ticket sales data. This thesis questions the relevance of the inherited model of ‘barriers’ to concert-going in understanding non-attendance. Instead, the analysis reveals that the decision to attend can be understood through an effort-risk-reward framework; audience members assess the amount of effort needed to attend a concert against their confidence that it will be enjoyable. For all participants, enjoyment of a concert was comprised of a mixture of ‘aesthetic’ and ‘extrinsic’ forms of value, thus complicating traditional models of ‘art’ and ‘entertainment’ audiences. In highlighting the idiosyncratic nature of attendance, this analysis challenges the extent to which conclusions can be drawn about attenders’ motivations for concert-going from their ticket booking history alone. This study reveals that audience members believe there to be ‘right’ and ‘wrong’ ways of listening, and suggests that making concerts more informal and less elitist, and providing attenders with support to engage with the music, may be beneficial to attracting new audiences.