The ensuing four chapters present analyses of the selected works. The discussion of each composition begins with a brief introduction about its background, stylistic traits, and influences. A structural analysis follows, addressing traditional musical parameters and how they are manipulated by Archer's contemporary style. Analytical elements include the investigation of main sections, tonal areas, character, compositional devices, and style. An additional aesthetic goal of the analysis is to consider the musical elements of the works with regard to a listener's possible perceptions.

This study contains seven chapters and seven appendixes. The first chapter introduces Archer and highlights her impact in the twentieth-century music world, both in Canada and abroad. Chapter Two includes a biographical background of Archer. Particular focuses include her contributions and achievements as composer, performer, educator, and advocate for contemporary music and the Canadian music scene. A general overview of Archer's available piano music and a brief synopsis of her compositional style are also provided.

The purpose of this document was to present a teaching and performance analysis of four intermediate- to early advanced-level solo piano works of Canadian composer, Violet Archer: Three Scenes for Piano (Habitant Sketches) (1942), Sonatina No. 2 (1946), Theme and Variations on La-haut sur ces montagnes (1952), and Four Bagatelles for Piano (1977).

This document was designed to instigate an awareness of the rich palette of musical contributions that Canada has to offer. In particular, it was intended to stimulate insight and appreciation of the work and achievements of Violet Archer. It is also hoped that the investigation of the composer's piano works will encourage the incorporation of Archer's pieces into the pianist's active standard repertoire.

Furthermore, each of the four analytical chapters features teaching and performance suggestions, with attention to pianistic and technical aspects for practice, teaching, and performance. The author's musical experience, theoretical analysis, insights, and discussions with Archer formulate the basis for the observations. Chapter Seven concludes the monograph with a summary, conclusions, and recommendations, followed by a bibliography and appendixes.