Esta tese propõe uma investigação acerca da trajetória do compositor e violinista Manoel Joaquim de Macedo (1845-­-1925). Por meio de uma revisão da literatura, procura entender como surgiu o perfil biográfico do músico, perfil esse que acabou consagrado. Por outro lado, desconstrói esse perfil a partir de pesquisas recentes e dados inéditos, propondo uma nova leitura de sua biografia. Manoel Joaquim de Macedo é inserido em seu contexto social e político para melhor se entender como ele atuou como músico e quais eram suas ambições. Assim, são examinados o meio no qual ele se iniciou na música; a tradição da escola franco-­-belga de violino, na qual ele teria se formado; o meio musical carioca e mineiro do final do século XIX início do XX; e as questões político-­-ideológicas que envolveram a criação da ópera Tiradentes, seu grande projeto profissional da maturidade / This work proposes an investigation about the composer and violinist Manoel Joaquim de Macedo (1845-­-1925). Through a literature review, it tries to understand how the consecrated biography of the musician was formed. On the other hand, it deconstructs this biography from recent research and unpublished data, proposing a new biographical approach. Manoel Joaquim de Macedo is inserted in its social and political context to better understand how he acted as musician and what were his ambitions. Thus, this work examines the medium in which he began in music; the Franco-­-Belgian violin school tradition, in which he would have formed; the musical ambient of Rio de Janeiro and Minas Gerais in the late nineteenth and early twentieth century; and the political and ideological issues surrounding the creation of the opera Tiradentes, his great professional project of the maturity.

A partir da análise comparada do repertório de recitais para piano, apresentados em jornais da cidade de São Paulo nos anos 1925, 1935, 1945, 1955 e 1965, tentamos identificar qual era o gosto musical da época no que concerne ao piano, objetivando também qual era o espaço ocupado pelos compositores nacionais nestes recitais. Em consequência, foi possível perceber a presença de um grupo de compositores e pianistas nacionais nesses recitais tendo Mário de Andrade como mentor intelectual do grupo. Os dados levantados sugerem que a frequência desses compositores não superou em nenhum momento um terço do repertório no período, o que nos leva a conjecturar que o compositor nacional ocupava um lugar marginal na cena musical erudita da época. / From the comparative analysis of the repertoire of piano recitals, found in the newspapers of the city of São Paulo during the years of 1925, 1935, 1945, 1955 and 1965, we tried to identify what was the kind of musical taste of that age, concerning the pieces for piano. We also tried to figure out what was the space occupied by national composers in these recitals. Consequently, it was possible to notice the presence of a group of composers and pianists having Mário de Andrade as the master mind of them. The collected data suggests that the frequency of these composers did not exceed, at any time, one third of the repertoire in that period, which leads us to conjecture that the national composer occupied a marginal place in the classical music scene of that epoch.

This thesis discusses the life and work of the eighteenth-century French composer, Julie Pinel. Pinel’s extant music comprises one collection of music, Nouveau recueil d’airs sérieux et à boire à une et deux voix, de Brunettes à 2 dessus, scène pastorale, et cantatille avec accompagnement, published in 1737, of which a critical edition has been produced in volume II of this thesis. There is little information regarding Pinel’s life and work, however, the preface and privilège included in her Nouveau recueil provide some clues as to Pinel’s biography. Her life and music are examined, with reference to the social, literary and musical environment she was working in. An added dimension is that Pinel was working as a professional musicienne at a time when women were beginning to find their voice and place in professional society. Pinel claims authorship of the majority of the poems in her collection, and the rest come from anonymous sources. Pinel’s literary and musical output illustrates her obvious knowledge of the current trends in eighteenth-century France, with most of her poetry written for a female poetic voice, displaying many of the fashionable themes of the day. Her music displays a variety of styles, ranging from simple airs in binary form, traditionally found in most French airs sérieux et à boire, to the operatic, and the fashionable rococo styles.

This study presents pertinent information for singers and teachers of singers about selected vocal works written by three significant composers who were active during the first half of the twentieth century: Arnold Schoenberg, Anton Webern, and Alban Berg, also referred to as The Second Viennese School. The vocal works of these composers are often neglected due to the assumption that the works will be atonal and, therefore, musically unachievable for performers and unsatisfying for audiences. For each composer, information about his educational background and compositional style is provided, in addition to commentary on representative vocal works supported by musical examples. A significant part of this research includes interviews with renowned singers who supply advice for practice and performance-related suggestions. In order for singers and teachers to obtain essential information regarding these solo vocal works, a complete catalog is provided. / Introduction -- Arnold Schoenberg -- Anton Webern -- Alban Berg -- Vocal and rehearsal techniques -- Conclusions and suggested further research. / School of Music

Carl Nielsen, labelled as Denmark's national composer, has long been relegated to a secondary status in English-language musicology as a composer of great national significance but negligible importance outside of Scandinavia. This thesis explores the links between Danish nationalism and Nielsen's music, as well as the effects of Nielsen's status as a national composer on the reception of his symphonic music outside of Denmark. The first section of this paper is a study of Nielsen's music in the context of Danish cultural nationalism at the turn of the twentieth century, focusing on the folk influences or "Danish" aspects of his symphonic music. It also examines the extent to which the national or Nordic qualities of his music are constructions and later attributions. The following section looks at the development of Nielsen's status as a national composer in Denmark, as well as how this label has engendered the stereotyping of his music as regional in English-language musicology. Nielsen has been neglected by the Anglo-Germanic canon which privileges central European compositional styles and methods while viewing nationally inflected music negatively. Although Nielsen's Danish background cannot be ignored, his symphonic music needs to be studied in a wider European context for his universal message to be appreciated

This thesis examines the impact of gender, feminism and motherhood on the careers of four Australian composers: Margaret Sutherland (1897–1984), Ann Carr-Boyd (b. 1938), Elena Kats-Chernin (b. 1957) and Katy Abbott (b. 1971). / Aspects of the biographies of each of these women are explored, and I situate their narratives within the cultural and musical contexts of their eras, in order to achieve heightened understanding of the ideologies and external influences that have contributed to their choices and experiences. Methodologies derived from feminist biography and oral history/ethnography underpin this study. Theorists who inform this work include Marcia Citron, Daphne de Marneffe, Sherna Gluck, Carolyn Heilbrun, Anne Manne, Ann Oakley, Alessandro Portelli, Adrienne Rich and Robert Stake, along with many others. / The demands traditionally placed on women through motherhood and domesticity have led to a lack of time and creative space being available to develop their careers. Thus they have faced significant challenges in gaining public recognition as serious composers. There is a need for biographical analysis of these women’s lives, in order to consider their experiences and the encumbrances they have faced through attempting to combine their creative and mothering roles. Previous scholarship has concentrated more on their compositions than on the women who created them, and the impact of private lives on public lives has not been considered worthy of consideration. / Three broad themes are investigated. First, the ways in which each composer’s family background, upbringing and education have impacted on their decision to enter the traditionally male field of composition are explored. The positive influence from family and other mentors, and opportunities for a sound musical education, are factors particularly necessary for aspiring female composers. I argue that all four women have benefited from upbringings in families where education and artistic endeavour have been valued highly. / The second theme concerns the extent to which the feminist movement has influenced the women’s lives as composers and mothers, and the levels of frustration, and/or satisfaction or pleasure each has felt in blending motherhood with composition. I contend that all four composers have led feminist lives in the sense that they have exercised agency and a sense of entitlement in choices regarding their domestic and work lives. The three living composers have reaped the benefits of second-wave feminism, but have eschewed complete engagement with its agenda, especially its repudiation of motherhood. They can more readily be identified with the currently evolving third wave of feminism, which advocates women’s freedom to choose how to balance the equally-valued roles of motherhood and the public world of work. I assert that Sutherland was a third-wave prototype, a position that was atypical of her era. / The third and final theme comprises an investigation of the ways in which historical and enduring negative attitudes towards women as musical creators have played out in the musical careers in these composers. It is contested that Sutherland experienced greater challenges than her successors in the areas of dissemination, composition for larger forces, and critical reception, but appears to have been more comfortable in promoting her work. The exploration of their careers demonstrates that all four of these creative mothers are well-respected and recognised composers. They are ‘third-wave’ women who have considerably enriched Australia’s musical landscape.

Thesis--Freie Universität Berlin. / Summary in German. Anthems by I.H. Whyte, for chorus (SATB): v. 2. Includes bibliographical references (v. 1, p. 412-416).

Mémoire (M.Ling.)--Université du Québec à Chicoutimi, 2000. / Document électronique également accessible en format PDF. CaQCU

Thesis--Freie Universität Berlin. / Summary in German. Anthems by I.H. Whyte, for chorus (SATB): v. 2. Includes bibliographical references (v. 1, p. 412-416).

Thesis (doctoral)--University of London, 1998. / BLDSC reference no.: DX202539.