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George Walker, pianist, composer and pedagogue, composed piano sonatas in 1953, 1957, 1975, and 1984. The Sonata No. 4 demonstrates the composer's continued fascination with a relaxation of traditional forms, coloristic effects of persistent interval combinations, incorporation of folk elements into his thematic material, and harmonic and rhythmic underpinnings as structural bases to his work.

In this thesis, I explore the careers and songs of Florence Price and Margaret Bonds—two African American female composers who were part of the Chicago Renaissance. Price and Bonds were members of extensive, often informal, networks of Black women that fostered creativity and forged paths to success for Black female musicians during this era. Building on the work of Black feminist scholar Patricia Hill Collins, I contend that these efforts reflect Black feminist principles of Black women working together to create supportive environments, uplift one another, and foster resistance. I further argue that Black women's agency enabled the careers of Price and Bonds and that elements of Black feminism are not only present in their professional relationships, but also in their songs. Initially, I discuss how the background of the Harlem and Chicago Renaissances and racial uplift ideology shaped these women's artistic environment. I then examine how Bonds and Price incorporated, updated, and expanded versions of these ideals in their music and careers. Drawing on the scholarship of Rae Linda Brown, Angela Davis, and Tammy L. Kernodle, I analyze Price's "Song to the Dark Virgin," "Sympathy," and "Don't You Tell Me No" and Bonds's "Dream Variation," "Note on Commercial Theater," and "No Good Man" through a Black feminist lens. I contend that although Price and Bonds depicted harsh realities of Black women's experiences, they also celebrated Black women's resistance in spite of intersectional oppression. Ultimately, analyzing Black feminism in these composer's careers and songs opens a path for further exploration of how Black women's agency can facilitate activism through art.

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.

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.

John Ireland is one of the most important British composers of the twentieth century. Many scholars believe the works of his early period were deeply influenced by Brahms. After graduating from the Royal College of Music, Ireland went on to develop a much more individual musical language, with influence from contemporary French composers. However, the young composer found himself confronted with the challenge of finding a new and personal style without turning wholly to impressionism or to chromaticism. In Ireland's Piano Sonata, Ireland adopted several of Brahms' compositional techniques. This piano sonata is an excellent example of one of Ireland's mature works that still demonstrates Brahms' influence.

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.

María Grever (1885-1951) overcame racism and gender bias during a pivotal era in American music history to become the first commercially successful Mexican female composer and more specifically, a pioneer of popular music during the first half of the 20th century. Though named the "Madonna of song," her legacy is largely overshadowed by other compositional giants of the era, such as the Gershwin brothers, Cole Porter, and Irving Berlin. Grever's music is sophisticated, heartfelt, and worthy of attention. Her colorful, genuine music adds distinctiveness and variety to recital programs. Grever's songs offer a high level of musical integrity and socio-cultural value. Incorporating her compositions into a singer's vocal repertoire is an excellent way to broaden the scope of styles and languages while maintaining the highest standards of musical study. The following document considers the importance of performing and studying Grever's music by analyzing nine songs representing three compositional periods. I evaluated the songs considering pedagogical benefit, performance value, and significance to her overall oeuvre.

A large portion of the standard repertoire for saxophone and piano has already been recorded and performed many times and has received significant scholarly study. For a performer, remaining relevant requires learning and performing new compositions. Jorge Sosa and Andrés Alén are both accomplished composers, yet outside of the Latin-American community they remain virtually unknown to most saxophonists. This project serves as an introduction to both composers. Combined, Sosa and Alén have nine compositions for saxophone. Their works include saxophone quartets, saxophone and piano, and saxophone quartet with choir. This study focuses on three compositions: La Zacapaneca by Sosa, Tema con Variaciones and Sonata para Clarinete ó Saxofón Soprano y Piano, both by Alén. Compositional background information is given about each composition to include date of composition, premiers, important recordings, length of performance and Cuban ethnic and traditional elements used as the basis for rhythmic and thematic ideas. The Cuban and Afro-Cuban influences are explained in further detail pertaining to how they were used in the construction of the works and in their being performed stylistically correctly. Dynamics, articulations, and performance considerations are studied at length.

The Evening Service settings of great British composers like Charles Stanford, A. Herbert Brewer, Charles Wood and Herbert Howells are well known and performed often throughout the world. However, little is known about the body of settings created by American composers. There are currently approximately 75 American composers dating from 1890 to the present, with Evening Service settings in print. Joel Martinson, based in Dallas, Texas, is an American composer, church musician, concert organist, and presenter. Although Martinson has composed four Evening Service settings (Evening Service for the St. Mark's School 1996, Evening Service for the Incarnation 2000, Evening Service for Church of the Nativity 2002, and Evening Service for the Transfiguration 2015), these works are not widely known outside of Dallas and small Anglican circles, nor is the value of his contributions to Anglican Evensong repertoire recognized. The purpose of this study is to demonstrate that Martinson's four settings make a valuable American contribution to Anglican repertoire through his neo-classical style and creative counterpoint. The four settings are modern and challenging but remain approachable for both choir and audience.