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.

Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works. My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana. Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity. The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda). / Art history, Visual Ars and Musicology / D. Mus

Ignacy Feliks , a Polish composer active in Warsaw, is best known for having been a colleague of Frederic Chopin while they were both composition students of Jozef Eisner. As an early nationalist composer, Dobrzynski is examined within the context of nineteenth-century Warsaw's musical culture and political situation. Dobrzynski early training was provided by his father, who was Kapelmeister at the Ilinski court in Romanow. The most important achievements of the career which followed Dobrzynskifs move to Warsaw in 1825 include second place in an 1835 Viennese contest with the Second Symphony, a German tour in I8I8, and the directorship of the Teatr Wielki in 1852. Cast in the late eighteenth-centurv style, Dobrzynski two symphonies were composed in 1829 and 1831. These works show knowledge of Beethoven's music and exhibit Dobrzynski's skill at orchestration. Symphony No. 2 in C minor, Op. 15, is the more important work because of national elements in each movement, as well as its success in a Viennese symphony contest in 1835. Although a precedent for national elements is seen in studying the development of the Polish symphony in the eighteenth and early nineteenth centuries, Dobrzynski's contribution shows an intensification of musical patriotism which was inspired by the November Insurrection of 1830-1831. An edition of the Second Symphony and a list of Dobrzynski's works are included in the dissertation.

Eak Tai Ahn is not only the first generation of Korean musicians, composers and conductors to have studied Western music and given successful musical performances in Western countries, but also is among the first to introduce the music of Korea to the West utilizing the Western music system. Korea Fantasy is an important work that helped Ahn win international acclaim. Korea Fantasy is an orchestral piece that evolved along with Ahn's unique life experiences shaped by the state of his native country. The piece is programmatic, depicting the history of Korea, which utilizes musical devices, such as rhythms and quotation that are distinctive musical elements of Korea. This document discusses the political and social history of Korea during Ahn's life time, offers an overview of Ahn's education and musical footsteps, and describes the premiere and reception of Korea Fantasy. Moreover, a discussion of his compositional traits and a musical analysis of Korea Fantasy are presented.

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.

Mario Lavista (b.1943) is widely acknowledged as one of Mexico's foremost living composers. Having acquired his music education in his native Mexico and in Europe alike, he is similar to numerous other Latin composers who were building a career in the latter half of the twentieth century. During this time, composers were relying on international aspects of avant-garde techniques, and using nationalistic Latin rhythms and melodies less. Lavista embraced internationalism, and aimed to compose works devoid of identifiable elements of nationalism. This document argues that the absence of nationalistic elements in Lavista's music has affected his notoriety outside of Mexico. The role of nationalism is assessed through a brief examination of influential Mexican composers and educators prior to 1950, followed by a discussion of education and composition in the latter half of the twentieth century. These aspects are investigated with regard to Lavista's education and resulting compositional style. A theoretical analysis of Cinco Danzas Breves para quinteto de alientos (1994) serves as a representative example of Lavista's compositional style and influence. This document aims to highlight and increase exposure of Mexican composers outside of Latin America who do not compose nationalistic music.

Text in Afrikaans / In hierdie studie word Mimi Coertse se bydrae tot die uitvoering van die Afrikaanse kunslied in diepte ondersoek. Die kunslied word omskryf en die ontwikkeling van die kunslied in Westerse kunsmusiekgeskiedenis en in Suid- Afrika word ontleed. Die belangrikste komponiste word gevalle uitgelig. 'n Oorsig van Mimi Coertse se lewe en loopbaan volg hierna. 'n Volledige tabel van algemene opmerkings oor Coertse se uitvoering van die Afrikaanse kunslied deur resensente, kollegas en vriende word bespreek. Dit word gevolg deur opmerkings oor Coertse se uitvoering van spesifieke Afrikaanse kunsliedere deur resensente. Die Afrikaanse kunsliedere wat deur komponiste aan Coertse opgedra is, sowel as die lys van Afrikaanse kunsliedere wat deur Coertse opgeneem is, word geboekstaaf. Coertse se sangloopbaan as kunsliedsangeres val saam met 'n tydperk waarin Afrikaans as taal en die Afrikaanse kultuur gedy het. Sy het in Afrikaans 'n uitdrukkingsmedium gevind wat haar die naaste aan die hart gele het. / This study involves an in-depth investigation into Mimi Coertse's contribution to the execution of the Afrikaans art song. The art song is defined and its development in the history of Western music and in South Africa analysed. The principal composers are highlighted in both instances. An overview is then provided of the life and career of Mimi Coertse. A comprehensive table of general comments on Coertse's execution of the Afrikaans art song by critics, colleagues and friends is discussed. This is followed by critics' comments on Coertse's performance of specific Afrikaans art songs. The Afrikaans art songs that composers dedicated to Coertse as well as the list of Afrikaans art songs recorded by Coertse are chronicled. Coertse's career as a performer of the art song coincided with a period in which Afrikaans as a language and Afrikaans culture blossomed. She found a medium of expression in Afrikaans that was closest to her heart. / Art History, Visual Arts & Musicology / M. Mus.

Thesis (M.Mus.)-- University of Stellenbosch, 2006. / ENGLISH ABSTRACT: This study represents a contribution to the literature on South African cello concertos. The term encompasses works created locally by composers who were visibly involved in the promotion of music in South Africa over a significant period. It appears that between the years 1893 and 2004 about 56 South African composers delivered a (provisional) total of 95 works in various genres for the medium. This study refers specifically to five concerto-type works, viz. those of Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) and Allan Stephenson (2004). The research method comprised facets such as background data, historical perspectives and complete technical descriptions of each work, and entails comments on the artistic and specifically “cellistic” attributes of each. This process led to the conclusion that the era of emergence (1942-2004) amply informs the style of each selected work, and that each allows a particular perspective regarding the personal stylistic conviction of the composer. Although Richard Cherry's Concertino is hardly significant in terms of its stature within cello literature, it nevertheless bears testimony to natural and proficient musicianship. Cherry’s own instrument, the bassoon, and his preferred genre, viz. ballet and incidental music, seem to have had a role in the creation of this piece. Allan Stephenson's Concerto – the only multi-movement work – appears even more archaic in some respects than that of Cherry: His preferred “classicist” style allows a cello approach reminiscent of classical masters like Boccherini and Haydn, featuring also a harmonic style aligned to English “pseudo-modality” and pentatonicism, with elements of 20th century entertainment music. The melancholy, lyrical Concerto of autodidact Bernard Langley represents a special and unusual addition to the genre. Stylistically the work pays homage to the English lyricism of composers such as Delius. The lack of inventiveness and skill apparent in the thematic treatment and orchestration renders the work somewhat cumbersome and static. Both Peter Klatzow's "pointillist” The Temptation of St. Anthony, after Hieronymus Bosch, and Roelof Temmingh's Concerto can be classified amongst the most worthy South African music to date. While Klatzow's work bears the stylistic stamp of the European avant-garde of the post-war era, thus placing it in his early middle period, that of Temmingh's discloses the mature, experienced artist in his later, more audience- friendly approach. These works are distinguished also by the nature of their artistic cast. Klatzow addresses primarily the artistic challenge of melody vs. sound effect, rather than attempting a “programmatic” evocation of the painting. The cello idiom is startlingly varied and expressive; the cello's difficult higher register is applied with riveting effect. By contrast, cellistic effects are clearly of secondary importance to Temmingh, who emphasises strong lyrical, but also sombre and humoristic moments. On occasion the octotonic basis suggests tonality, and the work is structured ingenuously with the inventive use of motivic ideas which evolve as themes (including two passacaglias). / AFRIKAANSE OPSOMMING: Hierdie studie lewer ‘n bydrae tot die literatuur oor Suid-Afrikaanse tjello-concerto’s. Daaronder word werke verstaan wat hier te lande ontstaan het, deur komponiste wat oor ’n beduidende tydperk heen sigbaar betrokke is of was by die bevordering van musiek in Suid-Afrika. Dit blyk dat daar tussen die jare 1893 en 2004 sowat 56 Suid-Afrikaanse komponiste ’n (voorlopige) totaal van 95 werke in verskillende genres vir die medium geskryf het, waarvan vyf konsertmatige werke in aanmerking gekom het vir dié studie. Hulle is dié van Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) en Allan Stephenson (2004). Die navorsingsmetode behels fasette soos agtergrondgegewens, historiese perspektiewe en volledige tegniese bekrywings van elke werk, terwyl ook kommentaar gelewer word oor die artistieke en spesifiek “tjellistiese” ingesteldheid van elk. In dié proses is tot die slotsom gekom dat die tydperk van ontstaan (1942-2004) in ’n ruim mate gereflekteer word in die styl van die gekose werke, en dat elk ’n heel bepaalde perspektief toelaat ten opsigte van die komponis se persoonlike stylbenadering. Richard Cherry se Concertino is weliswaar nie noemenswaardig in terme van tjellistiek nie, maar getuig nietemin van ’n deurleefde musikaliteit en musikale vakmanskap. Cherry se eie instrument, die fagot, en sy bevoorkeurde genre, nl. ballet- en bykomstige musiek skyn ook ’n rol te gespeel het in die wording van dié werkie. Allan Stephenson se Concerto – die enigste meerdelige werk – is in bepaalde opsigte selfs meer argaïes as dié van Cherry: Sy bevoorkeurde “klassisistiese” styl maak ruim voorsiening vir ’n tjellistiese benadering wat herinner aan dié van klassieke meesters soos Boccherini en Haydn, terwyl sy harmoniese styl die Engelse “pseudo-modaliteit” en pentatoniek beklemtoon, en ook 20ste-eeuse vermaaklikheidselemente nie afwesig is nie. Outodidak Bernard Langley verteenwoordig met sy somber-liriese Concerto ’n spesiale – en sonderlinge – bydrae tot die genre. Die werk is stilisties ’n hulde aan die Engelse liriek van bv. Delius. Deur die skynbare gebrek aan genoegsame vindingrykheid in sowel tematiek as orkestrasie-vaardighede kom die werk voor as moeisaam en staties. Beide Peter Klatzow se “pointillistiese” The Temptation of St. Anthony, after Hieronymus Bosch, en Roelof Temmingh se Concerto kan geld as die mees verdienstelike Suid-Afrikaanse werke tot op hede. Waar Klatzow se werk stilisties tekens dra van die Europese avant-garde van die na-oorlogse tyd, en dus behoort tot die komponis se vroeë middeljare, is Temmingh s’n dié van die ryper en ervare kunstenaar, verteenwoordigend van die komponis se latere, meer gehoorsvriendelike benadering. Wat die werke verder van mekaar onderskei is die aard van die artistieke stempel: In Klatzow se werk gaan dit primêr om die artistieke skeppingsuitdaging van melodie vs. klankeffek, eerder as om ’n “programmatiese” uitbeelding van die skildery. Die tjello-idioom is verrassend-veelsydig en ekspressief; dit is veral die tjello se veeleisende hoogste register wat gepas aandoen. Vir Temmingh, daarenteen, is tjellistiese effekte duidelik ’n bysaak, met die klem op sterk liriese, by tye ook sombere en humorvolle momente. Die oktotoniese grondslag maak selfs by geleentheid voorsiening vir tonale allures, en die struktuur van die werk is oorspronklik in die vindingryke gebruik van motiwiese kiemselle wat mettertyd ontvou as temas (waaronder twee passacaglias).

Thesis (MMus) -- University of Stellenbosch, 2004. / ENGLISH ABSTRACT: This dissertation is an account of Paul Hindemith's life between 1919 and 1939 with special reference to his compositional development through the three sonatas for viola and piano. The introduction to the dissertation initially provides a list of Hindemith's vast output for the viola followed by insight into the reason and need for undertaking this research, literary sources used and their function in the context of this study and the conclusion that there is a lack of extant research on the three sonatas for viola and piano. This is followed by comments on Hindemith as a viola player and composer, supported by opinions of scholars and performers. An overview of the contents and aim of the dissertation completes the introduction. This first of the two comprehensive chapters briefly discusses Hindemith's character traits as viewed by a number of scholars and continues by introducing the political, social and financial circumstances in Germany in 1919. The chapter progresses into a division of the period 1919-1939 into six sub-sections of dates within this time span. Each section focuses on the political, financial and musical circumstances in Hindemith's life, with special attention given to the periods of greatest change and conflict. Included in this chapter are also the specific circumstances surrounding the composition, first performances and publication of the three sonatas for viola and piano, alongside mention of other works written at the same time. This is supported by references and quotations from correspondence between Hindemith and his wife, colleagues and friends, as well as translations of newspaper articles, letters and articles which thus far have not been translated into English. Special attention is given to possible reasons for the late publication of op.25 no.4 in 1977. Chapter 2 looks deeper into the significance, success and development of Hindemith through these three works. His stylistic development beginning with the influences of Debussy and Reger, his identification with the 'Neue Sachlichkeit' until the beginning of his later conservatism can be seen clearly in these three works. The aim of the study is to assimilate the available information into an accurate and coherent picture of the composer's life and stylistic development between 1919 and 1939 in a way that has not been presented before. It is my intention through this work that the unique style of the sonatas as well as their important place in the viola repertoire is apparent, and consequently of interest to other viola players, hopefully encouraging them to play the works themselves. / AFRIKAANSE OPSOMMING: In hierdie tesis word Paul Hindemith se lewe tussen 1919 en 1939 beskryf, met spesiale verwysing na sy ontwikkeling as komponis soos dit waargeneem kan word in die drie sonates vir altviool en klavier. Die inleiding tot die tesis verskaf 'n lys van Hindemith se omvangryke oeuvre vir die altviool, gevolg deur 'n motivering waarom hierdie studie onderneem word. Die omvattende literatuurstudie dui daarop dat daar tot op datum baie min navorsing oor die drie altvioolsonates gedoen is. Vervolgens word kommentaar gelewer op Hindemith as altviolis en komponis, ondersteun deur opinies van uitvoerende kunstenaars en musikoloë. 'n Oorsig oor die inhoud en die doelstellings van die tesis sluit die inleiding af. Die eerste van die twee omvattende hoofstukke begin met 'n bespreking van Hindemith se karakter, gevolg deur 'n oorsig oor die politieke, sosiale en ekonomiese omstandighede in Duitsland rondom 1919. Die tydperk 1919-1939 word dan in ses onderafdelings verdeel. Elke onderafdeling plaas die fokus op spesifieke politieke, finansiële en musikale omstandighede in Hindemith se lewe. Die jare waarin konflik en verandering op besondere wyse na vore tree word meer omvattend bespreek. Teen die agtergrond van ander werke uit hierdie tyd word die spesifieke omstandighede rondom die komposisie, eerste uitvoering en publikasie van die drie altvioolsonates in detail beskryf. Dit word aangevul deur verwysings na en aanhalings uit korrespondensie tussen Hindemith en sy vrou, kollegas en vriende, sowel as deur vertalings van koerantartikels en briewe wat tot dusver nog nie in Engels beskikbaar was nie. Hoofstuk 2 plaas die klem op Hindemith se stilistiese ontwikkeling, soos dit in the drie sonates waargeneem word. Die sonates illustreer Hindemith se ontwikkeling vanaf sy bewondering vir Debussy en Reger, oor sy vereenselwiging met die ideale van die 'Neue Sachlichkeit' tot by die meer konservatiewe benadering wat hy later gevolg het. Hierdeur word gepoog om die unieke waarde van die sonates, asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel. Die doel van die studie is dus om die beskikbare inligting tot 'n samehangende en akkurate beeld van die komponis se lewe en stilistiese ontwikkeling tussen 1919 en 1939 te voeg op 'n wyse wat nog nie voorheen gedoen is nie. Hierdeur word gepoog om die unieke waarde van die sonates asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel.

The essay begins with the overview of Russian-Soviet piano music from the second half of the 19th century to the end of the 20th century. Then, biographical information about Sergei Slonimsky and an overview of his major compositions is provided. The majority of the paper focuses on Slonimsky's Sonata for Piano (1963). A brief discussion of the Sonata's compositional history is followed by the formal analysis of the overall structure of the work. Slonimsky's original principle of organization of the music is emphasized: the system of constant interrelation of the main thematic material combined with elements of the sonata-allegro form. In the analysis of the harmonic language of the piece, the composer's extensive use of Russian folk elements such as diatonic melodies, sigh motives, parallel triads, and simultaneous use of the lower third with the major triad is pointed out. The rest of the paper focuses on issues of interpretation and performance. Special notice is given to the problem of incorporating a percussive type of playing with the elements of folk cantilena singing. The paper concludes with the history of Sonata's performances and a discussion of current recordings.