TABLE OF CONTENTS


 INTRODUCTION

   Research questions and objectives

   Why am I doing this research?

 CHAPTER 1: Eugenia Saunier Osterberger

   1.1. Her life and story briefly

   1.2. Her context: representation of woman composers in 19th and 20th centuries

   1.3. Glimpses of fer personality

   1.4. Her artistic influences

   1.5. Her compositions

        1.5.1. Piano and harpsichord

        1.5.2. Voice and piano

        1.5.3. Chamber music: strings and cello and piano

 CHAPTER 2: Methodology and Fieldwork

   2.1. Finding the scores process: documentary research in archives

   2.2. Arrangements of her works

        2.2.1. Terminology: arrangement, transcription, or adaptation?

        2.2.2. What is important when arranging a piece?

        2.2.3. Process making the arrangements

        2.2.4. List of pieces arranged and link to the scores

 CHAPTER 3: Galician and Spanish traditional music elements in her music combined with classical and romantic styles

   3.1. Galician folklore story and elements – folklore stylistic characteristics

   3.2. Her pieces with these elements – footprints in Eugenia’s works

 CHAPTER 4: How can I shape my performance? Engaging audience's importance and PIA results.

   4.1. Importance of my PIA and relation with this research: process, development and first impressions performing Eugenia’s music

   4.2. Mapping my performance out: creation of a Pilot Project

 CONCLUSIONS

 BIBLIOGRAPHY

 ANNEXES: ARRANGED SCORES AND RECORDING

   I. Adiós Lolita Mia

   II. Mélodie Espagnole

   III. Neve

   IV. Au fil de l'eau

   V. En avant...la musique!..

   VI. Viens

   VII. Danse Jacquelinette!..

   VIII. Farfadets

   IX. Musettes

   X. Petits Papillons Blancs

TO THE TITLE PAGE

 

CONTINUE TO THE INTRODUCTION