ABSTRACT
It seems, as discussed in Chapter 5, that commentators such as Stanford and Fuller Maitland viewed the phantasy as a problem that needed to be solved, evident in the advice they gave to composers. It is significant that although male and female composers chose to ignore this advice, Barns and Verne-Bredt seem to have negotiated a freer form from 1905, whereas Susan Spain-Dunk and many of the male composers initially were more inclined to incorporate sonata qualities. The other chamber works by Maddison, Smyth and Owen also engage with sonata form, their use of the form generally being consistent with that of many other early twentieth-century composers.
