Analytical Essays on Music by Women Composers: Concert Music, 1900–1960

Laurel Parsons is Full Teaching Professor of Music Theory and Co-ordinator of Aural Skills at the University of Alberta. Her research interests focus on the music of British composer Elisabeth Lutyens, Danish composer Else Marie Pade, and aural skills pedagogy related to post-secondary students with learning differences. From 2012-15 she chaired the Society for Music Theory's Committee on the Status of Women.Brenda Ravenscroft is Professor of Music Theory and Dean of the Schulich School of Music at McGill University. Her research focuses on post-tonal American music, text and music, rhythmic organization, and pedagogy. She chaired the Society for Music Theory's Committee on the Status of Women from 2006 to 2009.

• AcknowledgementsAbout the Companion WebsiteChapter 1. IntroductionLaurel Parsons and Brenda RavenscroftPart 1. Music for VoiceChapter 2. 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. SmithChapter 3. Rebecca Clarke, "Tiger, Tiger" (1933): Extended Tonality and Text-Setting in Rebecca Clarke's "Tiger, Tiger"Zachary BernsteinChapter 4. Ethel Smyth, The Boatswain's Mate (1913-1914): A Wrinkle? Gender and Motive in Ethel Smyth's The Boatswain's MateRachel LumsdenChapter 5. Ruth Crawford, Chants for Women's Chorus (1930): "Not yet accepted as singing": Ruth Crawford's "To An Angel" from Chants for Women's ChorusEllie M. HisamaPart 2. Instrumental MusicChapter 6. 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.Chapter 7. Galina Ustvolskaya, Sonata for Violin and Piano (1952): Motivic Patterns, Repetition, and Formal Structures in Galina Ustvolskaya's Sonata for Violin and PianoTim SullivanChapter 8. J. M. Beyer, String Quartet no. 2 (1933-34): Imagination and Method: J. M. Beyer's String Quartet no. 2Marguerite BolandChapter 9. Peggy Glanville-Hicks, Sinfonia da Pacifica (1952-53): Avant-garde or Postmodern? The Melody-Rhythm Concept in Peggy Glanville-Hicks's Sinfonia da PacificaVictoria RogersGlossaryBibliographyIndex

With a rewardingly pluralistic approach to analysis, chapter after chapter demonstrates the fresh insights to be gained from their authors' application of their chosen methods to the works under close analytical scrutiny here, whose composers vary from the better-known (Ethel Smyth, Rebecca Clarke) to the less familiar (Johanna Beyer), and genres range from solo Lied to symphony, all this presented together with carefully assembled contextual information providing added insights into biographical, socio-cultural, and political factors, further enriching the analytical discourse.