摘要：Galina Ivanova Ustvolskaya established herself as one of the most dynamic composers emerging from twentieth century Russia, achieving both national and international recognition and success. However, it has only been over the past half century that female composers have managed to prominently surface from the male-dominated musical canon. This in itself requires a complicated enquiry: what are the sociological and political factors that have prevented the prevalence of female composers in the past? Is there a universal disparity between the musical language employed and implemented by each gender? If there is an overriding distinction, how can women possibly accomplish due credit within a tradition defined by 'male' values?
This investigation is furthered through an evaluation of Ustvolskaya's life. From her birth in 1919 until her death in 2006, Ustvolskaya's life spanned a tumultuous period in Russian history where the traditional role of women was disrupted on a sociological, political and ideological level. Ustvolskaya's personal struggle with a significant man in her life - her teacher and colleague Dmitiri Shostakovich - is also considered as a direct influence on her musical approach. This article aims to evaluate the effect of this turbulent climate on her position, both personally and professionally, as well as to scrutinize her musical language to observe any truths in the subject of archetypal 'masculine' or 'feminine' gestures.
