Thesis--City University of New York. / Includes bibliographical references (v. 1, 285-296).

Margaret Ada Sutherland (1897-1984) is respected as one of the leading musicians in Australia in the twentieth century. She is widely recognised as having made significant contributions to the development of Australian musical composition and contemporary creative life. While a significant body of scholarly work has been completed on Sutherland and while it is varied in scope and purpose, to date, no study has been undertaken with a strong focus on the identification and examination of primary sources relating to Sutherland. Research on Sutherland and her creative life has been consistently hampered by problems such as numerous lacunae in the composer???s corpus of works and the transmission of errors from one study to the next. It is the thesis of this study that these problems can be addressed by a reevaluation of all previously-used primary documents as well as the study of newlyfound primary source material: returning to primary sources has uncovered a considerable amount of material, both by and about the composer, which has remained previously unexplored. In order to address omissions in Sutherland???s work list, the starting point for the current study is the compilation of a thorough catalogue of works which incorporates all known compositions by Sutherland. This catalogue is derived from the collation of comprehensive primary source material. Further to this, the close examination of extensive primary sources relating to Sutherland???s life and music provides insights into aspects of the contemporary musical network in which she worked and also into the particular problems she encountered as a female composer in a geographically isolated country. The diversity of her achievements is also illuminated. The resources used in this thesis provide the material which will enhance, augment, and sometimes offer new perspectives relating to the current understanding of Sutherland???s creative life. Thus, Sutherland???s contribution to Australian music can be more deeply understood.

Margaret Ada Sutherland (1897-1984) is respected as one of the leading musicians in Australia in the twentieth century. She is widely recognised as having made significant contributions to the development of Australian musical composition and contemporary creative life. While a significant body of scholarly work has been completed on Sutherland and while it is varied in scope and purpose, to date, no study has been undertaken with a strong focus on the identification and examination of primary sources relating to Sutherland. Research on Sutherland and her creative life has been consistently hampered by problems such as numerous lacunae in the composer???s corpus of works and the transmission of errors from one study to the next. It is the thesis of this study that these problems can be addressed by a reevaluation of all previously-used primary documents as well as the study of newlyfound primary source material: returning to primary sources has uncovered a considerable amount of material, both by and about the composer, which has remained previously unexplored. In order to address omissions in Sutherland???s work list, the starting point for the current study is the compilation of a thorough catalogue of works which incorporates all known compositions by Sutherland. This catalogue is derived from the collation of comprehensive primary source material. Further to this, the close examination of extensive primary sources relating to Sutherland???s life and music provides insights into aspects of the contemporary musical network in which she worked and also into the particular problems she encountered as a female composer in a geographically isolated country. The diversity of her achievements is also illuminated. The resources used in this thesis provide the material which will enhance, augment, and sometimes offer new perspectives relating to the current understanding of Sutherland???s creative life. Thus, Sutherland???s contribution to Australian music can be more deeply understood.

Treatise (D.M.A.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Thesis (D. Mus. Arts)--University of Washington, 2003. / Vita. Includes bibliographical references (p. 92-100).

No description available.

Treatise (D.M.A.) Florida State University, 2005. / Advisor: Jeff Keesecker, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 120 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D.M.A.)--Ohio State University, 2002. / Includes abstract and vita. Includes bibliographical references.

This dissertation presents an examination of the evolution of compositional style of Verdina Shlonsky, based on the analysis of selected piano compositions written in different periods of her life. The work examines the issues of defining Shlonsky’s style with regard to her philosophy, expressed in her numerous essays, concerning with the centrality of content. The central question of the evolution of Verdina Shlonsky’s style is addressed by identifying and listing its key characteristics, and tracing them in the three analyzed compositions, representing three different stages of her life. Shlonsky’s biography is compiled with a special focus on her musical development, and musical and non-musical influences to which she was exposed. Detailed formal and motivic analyses of the selected piano works uncover the formative elements of Shlonsky’s style. Each detailed analysis includes key information on the background of the composition, followed by performance guides addressing performance issues, and editorial sections comparing the Israel Music Institute (IMI) printed editions with the manuscripts. Based on Shlonsky’s written statements, describing her compositional esthetics, and on the analyses of the selected works, my dissertation posits that Shlonsky’s music is polystylistic, deliberately using of a variety of styles as expressive tools, and as ways to create continuity of tradition through dialogue with other composers from the past and present. My analyses also suggest that Shlonsky’s piano music from different periods share similar characteristics of style, presented in different proportions and contexts. The main purposes of this dissertation are to define Shlonsky’s compositional style and its evolution; to help performers to approach this unknown repertoire; to assist scholars in future research of Shlonsky’s legacy; and to disseminate knowledge about Verdina Shlonsky’s life and music to a wider audience.

This thesis considers the musical response of the American composer, Miriam Gideon to political events during the McCarthy era. It examines the interrelationships between politics, society and culture and considers how these are reflected in two works, Epitaphs from Robert Burns (1952) and Altered Steps to Altered States (1953) that Gideon composed during this period. Specifically, this thesis focuses on Gideon’s transition from teaching and composing music within an academic setting to preparing for life in a musical world, without support from mainstream academic institutions. Following the Introduction, Chapter 2 documents the rise of anti-communist practices on campus at Brooklyn College and City College, New York City where Miriam Gideon held music teaching posts. It reconstructs the personal events that led to the loss of both of these appointments and examines how and why this occurred. It is argued that Gideon entered a period of ‘inner exile,’ and this concept and its consequences for Gideon are explored in Chapter 3. An examination of her private diaries demonstrates that the effects of the McCarthy era were not only physical, but also psychological and social. Chapters 4-6 consider Gideon’s music through the perspective of inner exile and aim to show that the music that she wrote was a reflection of her experiences. Gideon’s return to academia in 1955 and her rehabilitation back into the academy are discussed in Chapter 7. A complete list of Gideon’s compositional output is included and is organised chronologically, alphabetically and by genre. This thesis examines new documents not previously available to scholars, and includes interviews conducted by the author with Gideon’s former students and colleagues.