Graduate Studies, UNL

 

Dissertations and Doctoral Documents, University of Nebraska-Lincoln, 2023–

Accessibility Remediation

If you are unable to use this item in its current form due to accessibility barriers, you may request remediation through our remediation request form.

First Advisor

John Bailey

Degree Name

Doctor of Musical Arts (D.M.A.)

Committee Members

Karen Becker, William McMullen

Department

Music

Date of this Version

4-27-2026

Document Type

Dissertation

Citation

A dissertation presented to the faculty of the Graduate College at the University of Nebraska in partial fulfillment of requirements for the degree Doctor of Musical Arts

Major: Music

Under the supervision of Professor John Bailey

Lincoln, Nebraska, May 2026

Comments

Copyright 2026, Bridget Hill. Used by permission

Abstract

Throughout my formal music education and general music upbringing, I have noted the erasure of the LGBTQ identities of artists, composers, musicians, and historical figures from formal music curricula, and from the concert hall. In response to this erasure, I am increasing visibility through the act of record-keeping by taking inventory of the works written for flute by LGBTQ composers. In searching for flute music by LGBTQ composers, it became clear that works by these composers were not organized into a centralized collection, or body of work.

This document will start the process of record-keeping by collecting and annotating works for flute alone and flute and electronics by LGBTQ composers. Due to the nature of the work, it is impossible for it to be comprehensive, as new works are being written even as this goes to print. However, it is a start. My hope and my intention is that it will be used as a resource by the flute community to discover, perform, and promote these works, and to increase the visibility of the rich breadth and depth of artistic offerings from the LGBTQ community.

Chapter One is a discussion of publications of flute repertoire from general flute repertoire catalogs as well as catalogs that delineate underrepresented composers. Chapter Two discusses methodology. It offers a detailed look at what minimal resources for flute music by LGBTQ composers do exist. That is followed by a detailed discussion of a thorough search for locating LGBTQ composers to discern if they have written works for flute. Chapter Two also discusses the scope and parameters of inclusion for the purposes of this document. Chapter Three is an explanation of the organization of annotated entries. Chapter Four is the alphabetized list of annotated entries, arranged by composer's last name. Chapter Five concludes the work, offering a survey of my findings and suggestions for the use of this work, and future research.

Included in

Music Commons

Share

COinS