AMERICAN WOMEN COMPOSERS: SELECTED PUBLISHED WORKS FOR FLUTE AND PIANO AND FOR UNACCOMPANIED FLUTE COMPOSED BETWEEN 1930 AND 2008

The music of women composers often comprises only a small percentage of flutists‘ repertoire, yet there are actually many active women composers, many of whom have written for the flute. The aim of this dissertation is to chronicle a selection of works by several American women composers that have contributed to accessible flute repertoire. For the purpose of this dissertation, accessibility is described by the following parameters: works that limit the use of extended techniques, works that are suitable for performers from high school through a reasonably advanced level, works that are likely to elicit emotionally musical communication from the performer to the listener, and works that are reasonably available through music stores or outlets on the Internet that have a fairly comprehensive reach to the general public. My subjective judgment also played a role in the final selection of the 25 works included as part of this dissertation, and performed on three musically well-balanced recitals. A variety of resources were consulted for the repertoire, including Boenke‘s Flute Music by Women Composers: An Annotated Catalog, and the catalogs of publishers such as Arsis Press and Hildegard Publishing, both of which specialize in the music of women composers. The works performed and discussed are the following: Adrienne Albert – Sunswept; Marion Bauer – Prelude and Fugue, Op. 43.; Marilyn Bliss – Lament; Ann Callaway – Updraft; Ruth Crawford – Diaphonic Suite; Emma Lou Diemer – Sonata; Vivian Fine – Emily’s Images; Cynthia Folio – Arca Sacra; Nancy Galbraith – Atacama; Lita Grier – Sonata; Jennifer Higdon – The Jeffrey Mode; Edie Hill – This Floating World; Katherine Hoover – Masks; Mary Howe – Interlude between Two Pieces; Laura Kaminsky – Duo; Libby Larsen – Aubade; Alex Shapiro – Shiny Kiss; Judith Shatin – Coursing Through the Still Green; Faye-Ellen Silverman – Taming the Furies; Augusta Read Thomas – Euterpe’s Caprice; Joan Tower – Valentine Trills; Ludmila Ulehla – Capriccio; Elizabeth Vercoe – Kleemation; Gwyneth Walker – Sonata; and Judith Lang Zaimont – ‘Bubble-Up’ Rag. All of these works are worthy alternatives to the more frequently played flute repertoire, and they serve as a good starting point for anyone interested i n exploring the works of women composers.

Charging The Net: Social Activism in Women's Professional Tennis

This dissertation is an analysis of social activism within women’s professional tennis. In the 46 years since the women known as the Original 9 began protesting against the pay inequality between men’s and women’s tennis, subsequent cohorts of women have brought different issues and concerns to women’s tennis, expanding its scope and efforts.  Using qualitative research, including interviews with former players and press conference participation at tournaments to access current players, this study shows the lineage of social activism within women’s tennis and the issues, expressions, risks and effects of each cohort. Intersectionality theoretically frames this study, and analyses of performativity appears regularly. Each generational cohort is a chapter of this study. The Original 9 of the Movement Cohort fought for equal prize money. The Bridge Cohort, the era of Evert and Navratilova, continued the Movement Cohort’s push for equal prize money; however, they also ushered in identity politics (including gender, sexuality, and nationality, but with the notable exception of race). The Professional Cohort, the current era, followed the Bridge Cohort and is characterized by its focus on corporatization and mass-marketing. As such, there is a focus among the players on individualism which can seem like a lack of social activism is occurring. However, race, neglected during the Bridge Cohort, emerged during the Professional Cohort. The individualism of this cohort made space for Blackness to show unapologetically, though, within certain constraints. Finally, a few players are working on social justice issues in society at large, as well as trying to institute change within women’s tennis. These players make up the Post-Professional Cohort (or, as Pam Shriver from the Bridge Cohort calls them, “Bridge Throwbacks”).  This study shows the evolution of social activism within women’s tennis, as it reflects larger social change. Though bound together as one unified body, the social activism engaged in by each generation focused on different issues, making each generational cohort distinct from the whole of women’s professional tennis.