The turn from the nineteenth century into the twentieth saw an increase in the number of composing European women attaining prominence in the music world. This period of history is also now recognised as one of the key phases of the first wave of feminism. Feminists and musical women moved in a similar stratum of society. Although women of this era have increasingly been the subject of scholarly research, music historians have rarely investigated the links between the turn of the century??s wave of composing women and feminists. This dissertation uses the feminist and musical press as a means to investigate composing women??s engagement with feminism. I examine feminists?? regard for women musicians and conversely composing women??s views on feminism. The thesis also reframes the privatelives of composing women through an analysis of primary sources. The composers who form the focus of this biographical investigation include Lili Boulanger (1893-1918), Ethel Smyth (1858-1944), Luise Adolpha Le Beau (1850-1927), Louise H??ritte-Viardot (1841-1918) and Armande de Polignac (1876-1962). Using a large body of newly analysed, unpublished correspondence and private papers, this research offers fresh insights into the biographies of composing women as well as their own self-portrayal, revealing the complex nature of Ethel Smyth??s sexuality and reassessing the fatalistic portrait of Lili Boulanger which has been drawn in some previous studies. These biographical insights background the contentions of the thesis that composing women and feminists shared common ground. Through investigating the presence of musicians in the feminist press and of feminism in the musical press, the thesis reveals an ambivalent relationship between feminists and musicians. The disappointed expectations of feminists are contrasted with the reasons composing women had for retaining a distance from feminism. The exploration of composing women??s political and personal context enables an understanding not only of their contribution to music history, but also of their place within the greater history of women??s development.

The turn from the nineteenth century into the twentieth saw an increase in the number of composing European women attaining prominence in the music world. This period of history is also now recognised as one of the key phases of the first wave of feminism. Feminists and musical women moved in a similar stratum of society. Although women of this era have increasingly been the subject of scholarly research, music historians have rarely investigated the links between the turn of the century??s wave of composing women and feminists. This dissertation uses the feminist and musical press as a means to investigate composing women??s engagement with feminism. I examine feminists?? regard for women musicians and conversely composing women??s views on feminism. The thesis also reframes the privatelives of composing women through an analysis of primary sources. The composers who form the focus of this biographical investigation include Lili Boulanger (1893-1918), Ethel Smyth (1858-1944), Luise Adolpha Le Beau (1850-1927), Louise H??ritte-Viardot (1841-1918) and Armande de Polignac (1876-1962). Using a large body of newly analysed, unpublished correspondence and private papers, this research offers fresh insights into the biographies of composing women as well as their own self-portrayal, revealing the complex nature of Ethel Smyth??s sexuality and reassessing the fatalistic portrait of Lili Boulanger which has been drawn in some previous studies. These biographical insights background the contentions of the thesis that composing women and feminists shared common ground. Through investigating the presence of musicians in the feminist press and of feminism in the musical press, the thesis reveals an ambivalent relationship between feminists and musicians. The disappointed expectations of feminists are contrasted with the reasons composing women had for retaining a distance from feminism. The exploration of composing women??s political and personal context enables an understanding not only of their contribution to music history, but also of their place within the greater history of women??s development.

No description available.

The McMullin syncline is located in Smyth County within the Valley and Ridge Province of southwestern Virginia. The syncline lies in a recess along the northern periphery of the Seven Springs-Pulaski thrust and consists of seven small fault blocks which are complicated by three generations of folding, the the F2 and F3 folds trending oblique to nearly perpendicular to regional Appalachian trends. Two components of stress operated on the local area, a major one directed from the southeast and a lesser one from the southwest. The latter component resulted from rotation of the Seven Springs-Pulaski thrust. The Marion, Virginia area where the McMullin syncline occurs developed up-plunge from the Tennessee basin depocenter. The McMullin syncline includes the Middle Ordovician cartonate onlap package which was deposited over the lower Ordovician upper Knox Group during a major transgression. Altogether, 3519 conodonts representing 48 monoelement or multielement apparatuses and 19 form species were recovered. Biostratigraphically important conodonts recovered from this ramp to basin sequence include: Polyplacognathus friendsvillensis, Polyplacognathus sweeti, Eoplacognatus lindstroemi, Pygodus serrus, and Pygodus anserinus. The Polyplacognathus friendsvillensis-P. Sweeti evolutionary lineage is a valuable datum on which to base correlations in the Southern Appalachians. The datum in this study confirms that the transgression moved northwestward. The Lenoir and Arline Formations correlate with the Pygodus serrus Zone of Eergström’s (1971a) North Atlantic zonation and the Effna Formation with the lowermost Pygodus anserinus Zone. / Master of Science

The Saltville-Broadford area is largely on the northwestern limb of the Greendale syncline in the Valley and Ridge Province of Virginia. The area mapped covers 12 square miles of the northwest corner of Smyth County, Virginia. The rocks in the area ranging in age from Cambrian to Mississippian are found in three different structural settings, the hanging wall and footwall of the Saltville fault, and in two thrust slices located along the trace of the Saltville fault. The hanging wall consists of the Honaker Dolomite of Cambrian age and younger rocks outside the map area. The footwall consists of the Price Sandstone, Maccrady Shale and Little Valley Limestone all of Mississippian age and older rocks outside the map area. The larger of the two slices consists of an overturned sequence of the Juniata Sandstone of Ordovician age to the Brallier Formation of Devonian age. The smaller slice consists of undifferentiated Devonian shale. The Saltville fault, a low-angle thrust, has overturned and cut off the southeastern limb of the Greendale syncline. During thrusting, two slices, at least one of which is overturned, were carried with the overriding block to their present positions. A total of 12,500 feet of movement was measured where the Cambrian, Honaker Dolomite is in fault contact with the Mississippian Little Valley Limestone. Total movement of the fault is believed to be of the order of 4 miles. The upper part of the Mississippian Maccrady Formation is a sequence of evaporites. Halite and gypsum constitute the chief economy of the Saltville area. / M.S.

The Adwolf-Thomas.Bridge area of Smyth County, Virginia is underlain by Paleozoic rocks that crop out in northwest-trending belts. The formations that are considered in this study include in ascending stratigraphic order, the Erwin Formation, Shady Dolomite, Rome Formation, Elbrook Formation and Conococheague of Cambrian age and the uppermost Knox Dolomite, Tumbez Formation, Mosheim Formation, Giesler Limestone, Arline Limestone and Rich Valley Formation of Ordovician age. The area is structurally complex. The southeast dipping Seven Springs thrust brings Late Cambrian rocks of the hanging wall into contact with rocks as young as Middle Ordovician age in the Saltville thrust block. The Holston River syncline and the Glade-Pond Mountain anticlinorium form the area southeast of the Seven Springs fault. The Holston River syncline is an asymmetrical, southweat-plunging syncline in rocks of Cambrian age. The Glade-Pond Mountain anticlinorium is also confined to rocks of Cambrian age and is complicated by a series of small anticlines which have been broken on their northeast limbs by southeast dipping reverse faults. Sands and carbonates were the predominant sediments deposited in Cambrian and Early Ordovician time. In Middle Ordovician time, both carbonates and clayey muds were deposited. As no Silurian or younger Pal~ozoic sediments are present, it is not known when sedimentation ended. Deformation, perhaps in part contemporaneous with sedimentation, appears to have been' climaxed in Mississippian time after sediments of this age were deposited in the area considerably to the north of the area discussed in this report (Butts 1940). / Master of Science

M.S.

Thèse (Ph.D) -- Université Laval, 2003. / Titre de l'écran-titre (visionné le 29 mars 2004). Bibliogr.

Einen Heiratsantrag von Brahms hätte sie abgelehnt“ – unter dieser Überschrift fand sich in BIS 2014, Heft 1 eine kurze Notiz zu einer von der Bibliothek der Hochschule für Musik und Theater Leipzig (HMT) initiierten Patenschaftsaktion zugunsten des Erwerbs von 57 Briefen der Komponistin, Schriftstellerin und Frauenrechtlerin Ethel Smyth. Keine zwei Monate nach Beginn der Aktion, pünktlich zum 70. Todestag der Musikerin am 8. Mai 2014, konnten die neu angekauften Dokumente erstmals der Öffentlichkeit präsentiert werden. Die Patenschaftsaktion ist mit großem Interesse und hoher Dynamik angenommen worden. 57 Einzelpersonen, Gruppen und Vereine aus Deutschland, Österreich, der Schweiz und Liechtenstein haben sich für das Projekt engagiert und einen zügigen Ankauf möglich gemacht.

Einen Heiratsantrag von Brahms hätte sie abgelehnt“ – unter dieser Überschrift fand sich in BIS 2014, Heft 1 eine kurze Notiz zu einer von der Bibliothek der Hochschule für Musik und Theater Leipzig (HMT) initiierten Patenschaftsaktion zugunsten des Erwerbs von 57 Briefen der Komponistin, Schriftstellerin und Frauenrechtlerin Ethel Smyth. Keine zwei Monate nach Beginn der Aktion, pünktlich zum 70. Todestag der Musikerin am 8. Mai 2014, konnten die neu angekauften Dokumente erstmals der Öffentlichkeit präsentiert werden. Die Patenschaftsaktion ist mit großem Interesse und hoher Dynamik angenommen worden. 57 Einzelpersonen, Gruppen und Vereine aus Deutschland, Österreich, der Schweiz und Liechtenstein haben sich für das Projekt engagiert und einen zügigen Ankauf möglich gemacht.