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Bibliography: leaves 211-218. / viii, 345 p. : ill. (some col.), music ; 31 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / "This thesis examines and applies feminist musicological theory to Iphis, Matricide the musical, and Mr Barbecue, three musical theatre works by the Australian composer Elena Kats-Chernin." --p. iii. / Thesis (Ph.D.)--University of Adelaide, Elder School of Music, 2005

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.

Thesis (M.A.)--York University, 2008. Graduate Programme in Music. / Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45982

Throughout the history of band music, works by women have received little, if any, acclaim. While some of the reasons for this lack of acknowledgment are grounded in the historical development of the band and the social restrictions of the times, an even greater problem has been the lack of reference sources concerning band works composed by women. Likewise, the works themselves are frequently unpublished. This study compiles a dictionary of American women composers who have written for band during the period from 1865 to 1996 and a catalogue of these works.The introduction presents a brief analysis of the status of the woman composer and her relationship with the historical development of the band tradition. A guide to the use of the dictionary outlines the decisions that were made in the compilation and presentation of the material. The actual dictionary includes entries for more than two hundred women who have composed at least one original composition for band. Each composer is represented by a biographical sketch including education; list of awards, honors, and grants; reference citations; and a catalogue of known band works. The list of works presents as much information as possible including title, year of composition and/or publication, level of difficulty, duration, and availability. Beyond the biographical entries, the 572 compositions for band composed by women are listed in the appendixes in four different formats: alphabetized by title of composition, alphabetized by composer's last name, listed by level of difficulty, and listed by year of composition or publication.Works range in difficulty from those that are intended for use with a beginner band, to compositions that were commissioned by the professional service bands of the United States. It is no surprise that the majority of these works were composed post-1970. The study makes no attempt to evaluate the musical value of any of the cited works, but rather is intended as an initial reference on the subject. It also raises several questions concerning the place of these works in the marketplace and in relation to other creative fields. / School of Music

This study was designed to portray some of the personal attributes of Emma Lou Diemer, a contemporary composer, and to describe her compositional processes and products through videotaped interviews. Over a two year period and during five days of interviews and discussion, Dr. Diemer and this writer developed a rapport allowing the composer to reveal insights into her attitudes about music composition and her methods and techniques for composing. The writer then prepared and edited the videotaped interviews specifically for the following purposes:1. to provide insight into Emma Lou Diemer's philosophy of music composition2. to offer first-hand commentary on two of her own compositions3. to give composers and conductors insight, in Dr. Diemer's own words, into her compositional processes.The two videotapes central to this study provide visual records of the discussions of the composer at work, thereby allowing viewers access to her original comments, facial expressions, conversational nuances, and humor. The tapes show Dr. Diemer's energy, vitality, and sense of purpose as she continues to seek creative channels within her chosen field of composition.The videotapes are supported by a written document containing background information, related literature, and a biography of Emma Lou Diemer. Chapter four contains the narratives of the videotaped interviews and a discussion of two of Diemer's compositions, "There is a Mom Unseen" and "To Come So." The final chapter includes a summary and recommendations for further research.The writer recommends the use of videotape for recording interviews with contemporary composers; this medium was an effective tool for this study. Suggested procedures include: the recording of a composer's perspectives on interpretations of his/her compositions, recording of composing techniques, videotaping of the composer as performer or conductor, and videotaping of related performances of a composer's works by selected individuals and groups.Suggested audiences for the videotapes prepared for this study are: 1. university composition classes;2. conductors preparing to present compositions by Emma Lou Diemer in concert;3. high school groups looking at composition as a career;4. individuals who wish to study Dr. Diemer's compositional processes and style. / School of Music

Thesis (D.M.A.)--University of North Carolina at Greensboro, 2007. / Title from PDF t.p. (viewed Feb. 29, 2008). Directed by Nancy Walker; submitted to the School of Music. Includes bibliographical references (p. 160-176).

Thesis (Ph.D.)--McMaster University, 2001. / Includes bibliographical references (leaves 303-334). Also available via World Wide Web.

Thesis (Ed.D.)--Teachers College, Columbia University, 1989. / Typescript; issued also on microfilm. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 322-324.

Thesis (Ed.D.)--Teachers College, Columbia University, 1992. / Typescript; issued also on microfilm. Sponsor: Jan Eric Douglas. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 215-217).