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Text in Afrikaans / Hierdie studie handel oor die rol wat vroue in die Westerse musiekgeskiedenis van SuidAfrika vanaf 1652 tot 1952 gespeel bet. Vroue se bydraes en die belangrikheid daarvan word dus op haas elke denkbare gebied van die musiekmilieu gedurende die ontstaan en ontwikkeling van elke belanghebbende Westerse gemeenskap ondersoek. Hoofstukke een tot vyf konsentreer op die rol wat vroue as professione1e en amateur musikante binne die volgende streke sou vervul: Wes-Kaap, Natal, Vrystaat, Transvaal en Oos-Kaap. Hul posisies as uitvoerende kunstenaars, opvoedkundiges, beskermvroue, orkeslede, dirigente, komponiste, asook as stigters en lede van musiekverenigings word bestudeer. Hoofstuk ses stel 'n algemene beeld van die identiteit en werksaamhede van vrouemusici in die Suid-Afrikaanse musiekgeskiedenis daar. Daar word gekyk na die belangrikheid van hul bydraes en gevolglik blyk duidelik dat hul betekenis nie na waarde geskat word nie. Ten slotte word gepoog om vas te stel wat ten grondslag van hierdie ,verskynsel le. / This study deals with women musicians in the history of Western music in South Africa from 1652 to 1952. Their contributions within the origin and development of every major Western society are traced. Chapters one to five highlight women's roles as professional and amateur musicians in the following regions: Western Cape, Natal, Free State, Transvaal and Eastern Cape. Their posistions as performing artists, educators, patrons, orchestral players, conductors, composers, as well as fo'unders and members of musical societies are discussed. Chapter six recreates a general image of the identity and activity of South African women musicians. It becomes evident that their contributions are entirely underestimated. Finally the study seeks to place this misconception into proper perspective. / Art History, Visual Arts & Musicology / M. Mus.

Text in Afrikaans / Hierdie studie handel oor die rol wat vroue in die Westerse musiekgeskiedenis van SuidAfrika vanaf 1652 tot 1952 gespeel bet. Vroue se bydraes en die belangrikheid daarvan word dus op haas elke denkbare gebied van die musiekmilieu gedurende die ontstaan en ontwikkeling van elke belanghebbende Westerse gemeenskap ondersoek. Hoofstukke een tot vyf konsentreer op die rol wat vroue as professione1e en amateur musikante binne die volgende streke sou vervul: Wes-Kaap, Natal, Vrystaat, Transvaal en Oos-Kaap. Hul posisies as uitvoerende kunstenaars, opvoedkundiges, beskermvroue, orkeslede, dirigente, komponiste, asook as stigters en lede van musiekverenigings word bestudeer. Hoofstuk ses stel 'n algemene beeld van die identiteit en werksaamhede van vrouemusici in die Suid-Afrikaanse musiekgeskiedenis daar. Daar word gekyk na die belangrikheid van hul bydraes en gevolglik blyk duidelik dat hul betekenis nie na waarde geskat word nie. Ten slotte word gepoog om vas te stel wat ten grondslag van hierdie ,verskynsel le. / This study deals with women musicians in the history of Western music in South Africa from 1652 to 1952. Their contributions within the origin and development of every major Western society are traced. Chapters one to five highlight women's roles as professional and amateur musicians in the following regions: Western Cape, Natal, Free State, Transvaal and Eastern Cape. Their posistions as performing artists, educators, patrons, orchestral players, conductors, composers, as well as fo'unders and members of musical societies are discussed. Chapter six recreates a general image of the identity and activity of South African women musicians. It becomes evident that their contributions are entirely underestimated. Finally the study seeks to place this misconception into proper perspective. / Art History, Visual Arts and Musicology / M. Mus.

This essay presents an example of the musical life of a female composer active in Sweden during the late 19th and early 20th centuries. Through a case study on composer Sara Wennerberg-Reuter (1875-1959), the essay contributes information to her biography, which had been lacking specific details. Wennerberg-Reuter's biography has been discussed regarding traditional roles of women in music, her relationship to her own artistry and other active women composers, and finally the contemporary reception of Wennerberg-Reuter as a legitimate composer. Aesthetical theories prevalent during Wennerberg-Reuter’s life has been applied in these discussions, such as those presented by Citron, Öhrström and Hanson, combined with Citron's additional theories considering masculine/feminine elements in the musical approach. The main conclusions reached regarding the specific conditions enabling a professional status as a composer and woman in Sweden during the given time are; a) the liberal permission by the family to pursue higher education in composing, since this was in opposition to the traditions of the time. b) the access to a network of musically active women, from which a sense of being part of a female community can be created. c) the acceptance from musical institutions such as higher educations, composer's societies and media critics.

Clarinet works by Taiwanese female composers are not well researched or catalogued, and to date, and no comprehensive research codifies this subcategory in Taiwan or elsewhere. A comprehensive research and bibliography is necessary to the international community. It is hoped that through this annotated bibliography, readers will gain a deeper understanding of this genre. This study contains a brief history of Taiwan's Western music history, the female composers' history in Taiwan, and literature review. A total of twenty compositions by eighteen different Taiwanese female composers are discussed in the annotated bibliography, including thirteen for unaccompanied clarinet and seven for clarinet and piano. Information includes a brief biography of the composer, the date of composition, duration, premiere, dedication, commission, location of the score, difficulty and commentary on the piece.

Florence Price (1887–1953) was one of the most important African American woman composers of the early twentieth century. Price's music is known for combining techniques of Western art music with elements of the African American musical heritage. Although Price composed many works for piano, from large virtuoso pieces to characteristic miniatures, this study will address only her Piano Sonata in E minor. The purpose of this study is to analyze this sonata and discuss her compositional techniques and musical style as a combination of African American elements and Classical European procedures, combined and coordinated yet remaining in tension. Traditional European harmony, tonality, and form are successfully combined with African American characteristics: pentatonic scale, spirituals, syncopations, repetition, and dance rhythms. Indeed, Price's work is a considerable achievement, and she is one of the important African American women composers who should be better recognized today.

Yvonne Desportes (1907-1993) was an influential female composer, teacher, and music theorist. Her early success as a recipient of the Prix de Rome for composition (1932) marked the beginning of her distinguished career in music culminating in a 35-year professorship at the Paris Conservatory. Despite the relative obscurity of her music, Desportes was a prolific composer and published numerous works for clarinet quartet. This dissertation seeks to promote the clarinet music of Yvonne Desportes through a pedagogical examination of her clarinet quartets. The equitable parts and quality of Desportes' compositional style allow her clarinet quartets to be effective teaching tools for the development of fundamental clarinet skills relating to tone, technique, and musical style.

Komponistinnen, Interpretinnen, Klangkünstlerinnen, Improvisatorinnen, Musikologinnen oder Musiktheoretikerinnen, die während der letzten ungefähr zwei Jahrhunderte in französisch- und deutschsprachigen Gebieten tätig waren: Ihren Aktivitäten war ein Forschungsprojekt mit zehn 2017–2019 in Paris, Leipzig, Berlin und Wien durchgeführten Arbeitstreffen gewidmet. Die drei Bände 12.1–3 der Reihe Schriften online: Musikwissenschaft dokumentieren im Wesentlichen die dort gehaltenen Vorträge. / Women composers, performers, sound artists, improvisers, musicologists and music theorists who have been active in French and German speaking regions over the last two centuries. The research project was dedicated to their activities with ten conferences held in Paris, Leipzig, Berlin and Vienna in 2017-2019. The three volumes 12.1-3 of the series Schriften online: Musikwissenschaft essentially document the lectures held there. / Compositrices, interprètes, artistes sonores, improvisatrices, musicologues ou théoriciennes de la musique qui ont été actives dans les régions francophones et germanophones au cours des deux derniers siècles environ. Le projet de recherche a été consacré à leurs activités, avec dix conférences organisées entre 2017 et 2019 à Paris, Leipzig, Berlin et Vienne. Les trois volumes 12.1-3 de la série Schriften online : Musikwissenschaft documentent les conférences qui y ont été présentées.

Komponistinnen, Interpretinnen, Klangkünstlerinnen, Improvisatorinnen, Musikologinnen oder Musiktheoretikerinnen, die während der letzten ungefähr zwei Jahrhunderte in französisch- und deutschsprachigen Gebieten tätig waren: Ihren Aktivitäten war ein Forschungsprojekt mit zehn 2017–2019 in Paris, Leipzig, Berlin und Wien durchgeführten Arbeitstreffen gewidmet. Die drei Bände 12.1–3 der Reihe Schriften online: Musikwissenschaft dokumentieren im Wesentlichen die dort gehaltenen Vorträge. / Women composers, performers, sound artists, improvisers, musicologists and music theorists who have been active in French and German speaking regions over the last two centuries. The research project was dedicated to their activities with ten conferences held in Paris, Leipzig, Berlin and Vienna in 2017-2019. The three volumes 12.1-3 of the series Schriften online: Musikwissenschaft essentially document the lectures held there. / Compositrices, interprètes, artistes sonores, improvisatrices, musicologues ou théoriciennes de la musique qui ont été actives dans les régions francophones et germanophones au cours des deux derniers siècles environ. Le projet de recherche a été consacré à leurs activités, avec dix conférences organisées entre 2017 et 2019 à Paris, Leipzig, Berlin et Vienne. Les trois volumes 12.1-3 de la série Schriften online : Musikwissenschaft documentent les conférences qui y ont été présentées.

Komponistinnen, Interpretinnen, Klangkünstlerinnen, Improvisatorinnen, Musikologinnen oder Musiktheoretikerinnen, die während der letzten ungefähr zwei Jahrhunderte in französisch- und deutschsprachigen Gebieten tätig waren: Ihren Aktivitäten war ein Forschungsprojekt mit zehn 2017–2019 in Paris, Leipzig, Berlin und Wien durchgeführten Arbeitstreffen gewidmet. Die drei Bände 12.1–3 der Reihe Schriften online: Musikwissenschaft dokumentieren im Wesentlichen die dort gehaltenen Vorträge. / Women composers, performers, sound artists, improvisers, musicologists and music theorists who have been active in French and German speaking regions over the last two centuries. The research project was dedicated to their activities with ten conferences held in Paris, Leipzig, Berlin and Vienna in 2017-2019. The three volumes 12.1-3 of the series Schriften online: Musikwissenschaft essentially document the lectures held there. / Compositrices, interprètes, artistes sonores, improvisatrices, musicologues ou théoriciennes de la musique qui ont été actives dans les régions francophones et germanophones au cours des deux derniers siècles environ. Le projet de recherche a été consacré à leurs activités, avec dix conférences organisées entre 2017 et 2019 à Paris, Leipzig, Berlin et Vienne. Les trois volumes 12.1-3 de la série Schriften online : Musikwissenschaft documentent les conférences qui y ont été présentées.