The musical language of Peggy Glanville-Hicks : a critical study of her compositional style with special reference to the melody-rhythm concept of her later works / by Victoria Rogers

MLMSS 7888

fonds

June 2000

861454

0.05 metres of textual material (1 volume in box)

Victoria Rogers met Peggy Glanville-Hicks in 1984 when the composer came to Perth for the recording, by the West Australian Symphony Orchestra, of two of her works - The Transposed Heads and the Concerto Romantico. Rogers was then a cellist in the orchestra and she had the opportunity to interview Glanville-Hicks for ABC FM radio. The composer and her music made a strong impression on Rogers which led, twelve years later, to the beginning of work on this thesis.

Reference:
Compiled from the Preface to the thesis, p. vii

Thesis presented for the degree of Doctor of Philosophy at the University of Western Australia, School of Music, June 2000

This thesis "begins by setting out the principal tenets of the musical language which Glanville-Hicks claimed to have developed in her later works, based on her own writings and interviews. This is followed by an analysis of her musical language, from the early works of the 1930s to the late works of the mid-1960s. This analysis will be used to evaluate Glanville-Hicks's assertions about her own musical style against the evidence in the score". (From Abstract, p. vi)

Research & study copies allowed: No official reproduction of any content within the thesis because it may replicate content in the author's forthcoming book to be published by Ashgate.

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