Thesis (Ph. D.)--University of California, San Diego, 2003. / Vita. For 6 solo sopranos, women's chorus, string orchestra, percussion, harp, piano, and celesta. Accompanying tape includes recording of work.

Thesis (D.A.)--Ball State University, 2009. / Title from PDF t.p. (viewed on Nov. 12, 2009). Includes bibliographical references (p. [224]-229) and indexes.

Psalm 23 is a sacred work in four movements, written for women's chorus (SSAA), a tenor solo and a chamber ensemble consisting of flute, oboe, trumpet, percussion, timpani, and string quartet. It is designed to be performed as a portion of a church service or in concert. The text, Psalm 23 from the Bible is sung in Chinese, and the verses of the Psalm are arranged as follows: Movement 1, Verse 1, General musical characteristics: pastoral; Movement 2, Verses 2-3, General musical characteristics: peaceful; Movement 3, Verses 4-5, General musical characteristics: agitated; Movement 4, Verse 6, General musical characteristics: majestic. The form, tonal structure and harmony of each movement are influenced by the characteristics of an original synthetic scale.

Examining historical ideology of women’s position within society and how that socialization has influenced historical legal cases of gender inequality is the backdrop for a modern case study of sexual harassment and sexual assault. This thesis explores how women’s voices have been, and continue to be, silenced socially and legally through ages old ideology of women’s subordination to men. By examining a 2007 legal case of ongoing sexual harassment and sexual assault perpetrated by Federal Judge Samuel Kent against women in subordinate positions working within his courthouse it is demonstrated that socialization of gender inequality is stronger and slower to change than the laws prohibiting it. / text

This study is a practical tool for all conductors of women’s voices, in the form of an annotated and indexed bibliography of repertoire. This resource will specifically present literature by women composers, with texts by women authors, written intentionally for women’s choral ensembles. I invite the reader to become an informed consumer of music by and for women. We owe it to our women performers to find works that meet the collective musical, social, intellectual, spiritual, and emotional needs of the ensemble members. Making music is a personal and emotional experience, thus, our performers deserve to sing music that represents, in part, what they believe in, and embodies who they are. This document contains annotated entries for more than 150 musical compositions of choral music for women’s voices. Each annotation is intended to inform and educate readers as to the specific characteristics of a given piece. Annotation entries include: title of work, composer name and dates, author name and dates, date of the composition, voicing, accompaniment, duration, subject matter, and publisher’s information, as well as detailed commentary related to the textual and musical aspects of the piece. All compositions are also given ratings for level of difficulty in each of six categories: Range and Tessitura, Vocal line and Melody, Harmony, Rhythm and Meter, Text setting and Language, and Expression. By the very nature of this topic, a fully comprehensive list of all available choral repertoire written by women for women will never truly exist. It will always be a work in progress. However, it is my hope that the information contained within this study will assist conductors of women’s choral ensembles in the continuing search for material that best suits the voices and interests of their singers. Women’s ensemble conductors must be familiar with the literature in the ‘by women, for women’ category, so that each individual may make an informed choice regarding repertoire for his or her own ensemble. The literal and figurative voices of women deserve to be heard. As conductors of women’s choral ensembles, it is our responsibility to let those voices sing. / School of Music

Thesis (D. M. A.)--University of Oregon, 2003. / Sacred oratorio for female narrator, 4 solo female voices, SA chorus, and chamber orchestra. Libretto compiled from biblical sources and the writings of Makeda, Queen of Sheba, Mechthild of Magdeburg, and Hildegard of Bingen. Includes libretto, p. 309-313. Includes vita and abstract. Also available for download via the World Wide Web; free to University of Oregon users.

For centuries women have experienced domestic violence from men they know, as a consequence of which many turn to public services for support. Traditionally, these services have failed to provide adequate support, yet it is through these interactions with the services that abused women's lives are shaped and defined. Service providers therefore need to hear their voices in order to develop effective support services that enable survivors to 'move on' with their lives. A government initiative ¬- the Supporting People Programme (SPP) - has the potential to ensure that housing support providers develop their services in this manner. The main aim of the SPP is to place service users at the 'heart' of the system through user participation. Whilst this is certainly a step in the right direction, my concern is whether this actually happens or whether services adopt a tokenistic approach to user participation that marginalises and silences women survivors. My primary research question, therefore, is: 'What is the impact of the SPP on women survivors of domestic abuse?' Using a research design that included document analysis, observation and semi-structured interviews, I argue that the SPP has the potential to improve the lives of survivors and even to ameliorate, if not eradicate, domestic abuse. However, far from achieving this, the SPP through lack of commitment to ensuring that services actually meet the funding requirement of user participation continues to marginalise and silence the voices of women survivors.

Thesis (M. Mus.)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (leaves 425-426). Also available via the World Wide Web.

Labyrinth for piano sextet -- Music for oboe, clarinet, bass clarinet, bassoon and piano -- The ride-by-nights (for treble choir or female choir) / Lai Nga Ting Ada. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1998. / Abstract also in Chinese. / Abstract in English --- p.1 / Abstract in Chinese --- p.3 / Labyrinth for Piano Sextet --- p.4 / Programme notes --- p.5 / First movement --- p.6 / Second movement --- p.17 / Third movement --- p.32 / "Music for Oboe， Clarinet, Bass Clarinet, Bassoon and Piano" --- p.53 / Programme notes --- p.54 / Score --- p.55 / The Ride-by-Nights (for Treble Choir or Female Choir) --- p.75 / Programme notes --- p.76 / Lyrics --- p.77 / Score --- p.78

[Truncated abstract] As a developing country, Indonesia has been struggling with complex and contentious development issues since Independence in 1945. Despite remarkable economic achievement during the New Order period (1966-1998), poverty has persisted and the benefits of development have been unequally distributed. Social welfare — the system of social security to protect the well-being of the weaker members of society has received little attention in Indonesia, both from the state and from the scholarly community. The historical neglect of social welfare in Indonesia has begun to be addressed recently, with the Social Safety Net (SSN) initiative. SSN is a social welfare program that was launched by the government of Indonesia to mitigate the deleterious impacts of the economic crisis that hit the nation in 1997. This thesis aims to assess how the SSN accommodated the needs and aspirations of poor women, particularly those who live in rural areas. The rural poor deserve attention because poverty in rural areas is widespread and often intractable, and because poverty in rural areas tends to be more invisible than in urban areas. The urban poor are more visible, because they are “in the face” of the powerful every day, and they are more likely to be able to access agencies of power than the rural poor.