Thesis (Ph. D.)--University of Florida, 1986. / Description based on print version record. Typescript. Vita. Includes bibliographical references (leaves 243-248).

Thesis--Freiburg. / Includes bibliographical references (p. 103-106).

Thesis (D. Mus. Arts)-- University of Washington, 2005. / Vita. Includes bibliographical references (leaves 77-79).

Thesis (D. Mus. Arts)--University of Washington, 2005. / Vita. Includes bibliographical references (leaves 98-101).

Thesis (M.A.)--University of Wisconsin--Madison, 1933. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references ([1] leaf at end).

Thesis (D.M.A.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references.

Treatise (D.M.A.) Florida State University, 2006. / Advisor: Frank Kowalsky, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-13-07). Document formatted into pages; contains 78 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D. M. A.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 79-81).

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.

In order to understand the aesthetics of any musical form, one must first of all make the effort to appreciate the culture which produced it. For this reason, this paper contains a lengthy, although necessarily cursory, outline of the historical development of the Estonian nation. This historical perspective will hopefully acquaint the reader with the cultural background of the Estonians: one of the oldest, yet unfortunately one of the most unknown civilizations of North-Eastern Europe. Although there exist a few renditions of the history and music of this country devoid of propaganda, there is very little in the English language dealing with the historical development, and next to nothing on the music. The most authoritative texts are therefore written in the Estonian language, and for this reason the following paper is based totally on my translation of these sources.