Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (D.A.)--Ball State University, 2009. / Title from PDF t.p. (viewed on Nov. 12, 2009). Includes bibliographical references (p. 138-144). Discography: p. 138.

Thesis (D.M.A.)--University of North Texas, 2001. / Accompanied by recitals, recorded June 22, 1998 and Oct. 22, 2001. Includes bibliographical references (p. 53-57).

The purpose of this paper was to analyze and discuss Joan Tower’s solo keyboard compositions through 2007. This includes five piano pieces—Circles, Fantasia, Red Garnet Waltz, No Longer Very Clear, Big Steps—and an organ piece, Ascent. Tower’s compositional style can be divided into two periods. In the first period, where serial music predominates, I discussed twelve-tone row forms and contemporary keyboard techniques as found in two works, Circles and Fantasia. In her second period, I discussed these characteristics: one movement structures, her organic approach to composition, and her use of motivic development. Further, I included a discussion of form, scales, harmony, rhythm, and some performance issues. / School of Music

Thesis (D.M.A.)--University of Oklahoma, 2002. / Includes bibliographical references.

Not available / text

This dissertation discusses two flute works by Joan Tower (born 1938). The performance medium consists of flute alone, Hexachords for Solo Flute (1972), and flute and orchestra, the Flute Concerto (1989). The discussion on Hexachords consists of a theoretical analysis; discussion on the Flute Concerto pertains to Tower's flute writing through an investigation into her musical language and specific performance techniques. Numerous examples are included to illustrate various aspects of Tower's style. Conclusions follow. The purpose of the paper is, first, to illustrate that basic knowledge of the twelve-tone method can bring a composition out of uncertainty for the performer and allow him to present what is unique within it. Secondly, it is to investigate the stylistic maturation of Joan Tower's flute works. In order to facilitate a better understanding of Tower's music and to provide commentary about the performance of each work, the writer has quoted from personal interviews with the composer and with flutists Carol Wincenc and Patricia Spencer, to whom the works are dedicated.

No description available.

This dissertation provides an analysis of Island Prelude based on a method of analysis prescribed by the composer. The method, Energy Line Analysis, is essential to an enlightened performance. The content of this dissertation includes: biographical information, compositional influences, Joan Tower style periods, her works involving the oboe in a major role, and an Energy Line Analysis chart of Island Prelude. Island Prelude represents Joan Tower's musical language, the understanding of which is essential in an interpretation of her music.