[3] She was particularly interested in incorporating Alexander Technique into her teaching, and published articles on its use in music education.
[4] In her late forties, she became interested in composition, and her music has been widely performed.
Her most famous composition is her Elegy in memoriam Joan Dickson, which has been widely played due to its inclusion on the ABRSM cello Grade 8 syllabus.
[5] In the introduction, Bosanquet stated that she was intrigued by the appearance of harmonics in places such as “the ethereal notes at the end of Bruch’s Kol Nidrei, the bell-like pentatonic notes in Dvorak’s Cello Concerto, the spectacular leaps in the second movement of Elgar’s Cello Concerto, the glissando harmonics in Shostakovich’s Cello Sonata, the march in Britten’s Cello Sonata and the magical sound of four-part cellos playing high-stopped harmonics in Arvo Pärt’s Fratres; glissando stopped harmonics in the March of Britten's cello sonata; and sudden changes of pitch and colour on single notes in Webern's Three Pieces.”[6] She took a logical and scientific approach to categorising the possible harmonics on the cello, possibly inspired by her father's related work in the field of Fourier transforms.
[1] The book guides the player progressively through the different harmonics that can be played, including maps of the nodes of the cello string.