Paradoja: Concerto for Orchestra consists of three contrasting movements: slow, fast, slow (Paradoja = "paradox," Sp.). These movements are framed by a motif that opens and closes each of them, and connects them all. This framing motif is based on an alternation between a rhythmical pattern in the bass drum, and a melody sung by a boy mezzo-soprano, both over a string pedal. The first movement, Lamentos (Sorrows), is dramatic in character; it goes from simple to complex in its orchestration, harmony, texture, dynamics and tempo changes. The second movement, Algarabía (Tangle), reflects a festive affection; it presents a contrast to the first in character, tempo and spirit. The third movement, Sosiego (Serenity) provides a peaceful ending to the piece; it is lighter than the other two movements in texture and orchestration. The general harmonic language of Paradoja: Concerto for Orchestra is non-tonal yet centric, with surface references to functional harmony. However, the pitch content varies from movement to movement. The first movement is highly chromatic and based in the twelve-tone collection. The melodies are created by a combination of small pitch-class sets and sometimes are broken down and distributed among different instruments. Harmony is the result of the juxtaposition and counterpoint of these melodies, which vertically reiterate the same cells or creates new sets. The second movement is based on smaller collections than the first, and it is less chromatic. Contrast is often created by changing the collections or simply transposing them. The third movement is the most homophonic and the least chromatic of all three. It is based on a combination and juxtaposition of diatonic and non-diatonic collections that interact with each other. Paradoja: Concerto for Orchestra is examined in two broad categories. The first is a structural analysis, which includes details of form and pitch selection such as pitch collections, set classes and motives. The second is a stylistic analysis, which includes aspects of style such as rhythm, orchestration. The conclusion refers to the influence of historical models and aspects of the compositional process. Both the structural and stylistic analyses demonstrate how I have tried to merge diverse stylistic music elements to obtain a new personal idiom. / Music Composition / Accompanied by one .pdf score: Paradoja: Concerto for Orchestra: Full Orchestral Score.

Until the recent publication of twelve choral compositions, Rebecca Clarke (1886-1979) was known solely as a professional violist and composer of chamber music and art songs. Clarke composed choral music throughout her active period from 1906 to 1944. In 2004, the first study of Clarke's complete compositional output provided an introduction to the choral music, but only covered selected works. The present study traces the development of Clarke's compositional style through chronological analysis of all twelve choral compositions and an incomplete fragment. Clarke's choral music reveals the selection of high quality, expressive texts; exploration of the timbral, registral, and textural potential of unaccompanied choral music; changes in the treatment of all musical elements; the persistent acquisition of new techniques; and reliance on English choral genres including the madrigal, glee, carol, part song and motet. Chapter one establishes Clarke's importance through a survey of publication, criticism, and scholarship. The chapter also examines the society in which Clarke lived and the issues women composers encountered. A biography then reveals that despite obstacles, Clarke tenaciously pursued compositional study, eagerly acquired new techniques, and expressed enthusiasm for each compositional project. Her skill was confirmed by success in competitions and festivals. Throughout her active period, Clarke supported herself as a professional violist who specialized in chamber music, and a busy performing schedule limited her compositional work. Chapter two documents Clarke's formative vocal- and chamber-music experiences and suggests that her thorough knowledge of chamber music influenced her approach to choral composition. The chapter continues with analysis of Clarke's first seven choral works. The first three are well-crafted part songs that demonstrate Clarke's assimilation of basic compositional techniques. The next four show the increasing complexity of Clarke's style that culminates in her mature masterpiece, "He That Dwelleth in the Secret Place of the Most High." Chapter three presents analysis of three choral arrangements, two works for women's voices, and a choral fragment for mixed voices. The last five complete choral compositions confirm elements of Clarke's mature style and demonstrate her interest in exploring the new challenges of choral arranging and writing for women's voices. While Clarke's choral arrangements of her own songs are idiomatic adaptations for unaccompanied, mixed voices, the last three compositions display the diversity of styles Clarke employed in her late works. Chapter four summarizes changes in Clarke's choral style from 1906 to 1944, examines reasons for her obscurity, and raises questions that merit further research. The appendix which follows clarifies Clarke's intentions and illustrates common editorial issues and solutions through comparison of choral manuscripts and published editions.

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The flute music of Anna Bon di Venezia (1738–ca. 1767) belongs to the group of long-overlooked compositions by women composers throughout history worthy of rediscovery. This dissertation includes a discussion of Bon's life and music, as well as the artistic, historical, and theoretical significance of her compositions. It also presents biographical research on Bon, including Michaela Krucsay's dissertation, which provides new evidence of Bon's birth date, which had been uncertain up until 2015. Bon's Sonata in F Major for flute and basso continuo is analyzed to provide a more comprehensive understanding of the work. A table is provided explaining specific ornaments and articulations added to the performance edition. In addition, this dissertation includes analyses of sonatas by Carl Philipp Emanuel Bach (1714–1788) and Johann Joachim Quantz (1697–1773) to contextualize Bon's sonatas within the standard flute repertoire. This dissertation expands the music scholarship on this distinguished composer and performer and provides a historically informed performance edition of the Sonata in F Major, op. 1, no. 2, for flute and piano, to serve as a model to modern flutists for historically informed performances of Bon's entire opus 1.