| Contents |
Introduction / Laurel Parsons and Brenda Ravenscroft -- Part 1. Music for voice. Alma Mahler-Werfel, "Licht in der Nacht" (1901): Searching for the light: harmonic cycles and feedback loops in Alma Mahler-Werfel's "Licht in der Nacht" / Kenneth M. Smith ; Rebecca Clarke, "Tiger, Tiger" (1933): Extended tonality and text-setting in Rebecca Clarke's "Tiger, Tiger" / Zachary Bernstein ; Ethel Smyth, The Boatswain's Mate (1913-1914): A wrinkle? Gender and motive in Ethel Smyth's The Boatswain's Mate / Rachel Lumsden ; Ruth Crawford, Chants for Women's Chorus (1930): "Not yet accepted as singing": Ruth Crawford's "To An Angel" from Chants for Women's Chorus / Ellie M. Hisama -- Part 2. Instrumental music. Florence B. Price, Piano Sonata in E minor (1932): Culture and craft in Florence Price's Piano Sonata in E minor (First Movement) / Horace J. Maxile, Jr. ; Galina Ustvolskaya, Sonata for Violin and Piano (1952): Motivic patterns, repetition, and formal structures in Galina Ustvolskaya's Sonata for Violin and Piano / Tim Sullivan ; J. M. Beyer, String Quartet no. 2 (1933-34): Imagination and method: J. M. Beyer's String Quartet no. 2 / Marguerite Boland ; Peggy Glanville-Hicks, Sinfonia da Pacifica (1952-53): Avant-garde or postmodern? The melody-rhythm concept in Peggy Glanville-Hicks's Sinfonia da Pacifica / Victoria Rogers. |
| Abstract |
This is the second of four volumes in a multi-authored series of analytical essays on music by women composers from Hildegard of Bingen to the twenty-first century. Volume 2 presents detailed studies of compositions written between 1900 and 1960 by Alma Mahler-Werfel, Rebecca Clarke, Ethel Smyth, Ruth Crawford, Florence B. Price, Galina Ustvolskaya, J. M. Beyer, and Peggy Glanville-Hicks. Each chapter opens with a brief biographical sketch of the composer, followed by an in-depth analysis of a single representative composition, occasionally including other works where comparison strengthens the analytical argument. The repertoire explored by the authors includes art song, opera, choral, solo piano, chamber, and orchestral music. To enhance the volume's accessibility to readers who are not professional music theorists or musicologists, a glossary provides explanations of music-theoretical terms used in the book. The collection is designed to challenge and stimulate a wide range of readers. For academics, these thorough analytical studies can open new paths into unexplored research areas in music theory and musicology. Post-secondary instructors may be inspired by the insights offered here to include new works in graduate or upper-level undergraduate courses in early twentieth-century music or women and music. Finally, for performers, conductors, and music broadcasters, these thoughtful analyses can offer enriched understandings of this repertoire and suggest fresh, new programming possibilities to share with listeners-an endeavor of discovery for all those interested in twentieth-century music. |
