This dissertation discusses the life and work of Rebecca Clarke (1886–1979), Lillian Fuchs (1901–1995), and Rosemary Glyde (1949–1994), whose concept of the viola’s sound was fundamentally different from their male counterparts Lionel Tertis (1875–1975) and William Primrose (1904–1982). These women’s work has mostly been ignored, due to their gender and use of small forms in their compositions. This dissertation will explore the journeys of these three women through a discussion of their performances, pedagogy, and compositions; simultaneously it will chart the viola’s journey from obscurity to recognition as well as its evolution from lowly harmonic filler to expressive, melodic voice.
","abstract_html":"<p>This dissertation discusses the life and work of Rebecca Clarke (1886–1979), Lillian Fuchs (1901–1995), and Rosemary Glyde (1949–1994), whose concept of the viola’s sound was fundamentally different from their male counterparts Lionel Tertis (1875–1975) and William Primrose (1904–1982). These women’s work has mostly been ignored, due to their gender and use of small forms in their compositions. This dissertation will explore the journeys of these three women through a discussion of their performances, pedagogy, and compositions; simultaneously it will chart the viola’s journey from obscurity to recognition as well as its evolution from lowly harmonic filler to expressive, melodic voice.</p>","abstract_has_math":false,"creators":["Gerard, Eva R"],"institution":"The Graduate School and University Center of The City University of New York","degree_name":"Doctor of Musical Arts","degree_level":"Doctoral","degree_discipline":"Music","degree_department":null,"school":null,"contributors":[],"advisors":["Anne Stone"],"committee_chairs":[],"committee_members":["Janette Tilley","Norman Carey","Junah Chung"],"year":2019,"date_issued":"2019-09-01T07:00:00Z","date_published":"2019-09-01T07:00:00Z","updated_at":"2026-07-24T01:59:05Z","subjects":["Music Performance","Viola","Violist","Tertis","Primrose"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://academicworks.cuny.edu/gc_etds/3500","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Anne Stone"]},{"key":"dc:contributor.committeemember","label":"Committee Member","values":["Janette Tilley","Norman Carey","Junah Chung"]},{"key":"dc:creator","label":"Author","values":["Gerard, Eva R"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2019-09-15T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Doctoral"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Doctor of Musical Arts"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["The Graduate School and University Center of The City University of New York"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music Performance","Viola","Violist","Tertis","Primrose"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://academicworks.cuny.edu/gc_etds/3500"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This dissertation discusses the life and work of Rebecca Clarke (1886–1979), Lillian Fuchs (1901–1995), and Rosemary Glyde (1949–1994), whose concept of the viola’s sound was fundamentally different from their male counterparts Lionel Tertis (1875–1975) and William Primrose (1904–1982). These women’s work has mostly been ignored, due to their gender and use of small forms in their compositions. This dissertation will explore the journeys of these three women through a discussion of their performances, pedagogy, and compositions; simultaneously it will chart the viola’s journey from obscurity to recognition as well as its evolution from lowly harmonic filler to expressive, melodic voice.
"]},{"key":"dc:title","label":"Title","values":["Women's Contributions to Viola Repertoire and Pedagogy in the Twentieth Century: Rebecca Clarke, Lillian Fuchs, and Rosemary Glyde"]}]}],"canonical_facts":{"dc:contributor.advisor":["Anne Stone"],"dc:contributor.committeemember":["Janette Tilley","Norman Carey","Junah Chung"],"dc:creator":["Gerard, Eva R"],"dc:date.available":["2019-09-15T07:00:00Z"],"dc:description.abstract":["This dissertation discusses the life and work of Rebecca Clarke (1886–1979), Lillian Fuchs (1901–1995), and Rosemary Glyde (1949–1994), whose concept of the viola’s sound was fundamentally different from their male counterparts Lionel Tertis (1875–1975) and William Primrose (1904–1982). These women’s work has mostly been ignored, due to their gender and use of small forms in their compositions. This dissertation will explore the journeys of these three women through a discussion of their performances, pedagogy, and compositions; simultaneously it will chart the viola’s journey from obscurity to recognition as well as its evolution from lowly harmonic filler to expressive, melodic voice.
"],"dc:identifier":["https://academicworks.cuny.edu/gc_etds/3500"],"dc:subject":["Music Performance","Viola","Violist","Tertis","Primrose"],"dc:title":["Women's Contributions to Viola Repertoire and Pedagogy in the Twentieth Century: Rebecca Clarke, Lillian Fuchs, and Rosemary Glyde"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Doctoral"],"thesis:degree_name":["Doctor of Musical Arts"],"thesis:institution_name":["The Graduate School and University Center of The City University of New York"]},"updated_at":"2026-07-24T01:59:05Z"}