The lives and careers of the three women composers Marion Bauer (1882-1955), Miriam Gideon (1906-1996), and Vivian Fine (1913-2000) spanned more than a century. Each wrote works for viola and piano, including Bauer's Sonata for Viola and Piano, op. 22, Gideon's Sonata for Viola and Piano, and Fine's Lieder for Viola and Piano. Together, these composers' careers encompass a number of important trends in the professional development of the twentieth century woman composer in the United States.
Women composers were hindered in their advancement and acknowledgement for a number of reasons. One of these was a lack of "female tradition", the absence of an existing community of successful women composers to look to as examples. Another was the "female affiliation complex", the idea that female professionals struggle to look toward their predecessors as models because the female tradition is devalued. First, this document will explore the lives and influences of Marion Bauer, Miriam Gideon, and Vivian Fine, aiming to contribute to a better understanding of how "female tradition" and the "female affiliation complex" affected these composers' lives. Second, each work for viola and piano will undergo theoretical analysis focusing on goal-directed linearity. Goal-directed linearity is an issue of interest to performers and will encourage a deeper understanding of the works in question, fostering their further performance and dissemination.
|Advisor:||Mori, Akane, Porfiris, Rita|
|School:||University of Hartford|
|School Location:||United States -- Connecticut|
|Source:||DAI-A 80/07(E), Dissertation Abstracts International|
|Subjects:||Music, Performing Arts, Gender studies|
|Keywords:||Female affiliation complex, Female tradition, Women composers|
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