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Dissertations / Theses on the topic 'Art songs'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

Webb, Adam Michael. "Art songs for tenor : a pedagogical analysis of art songs for the tenor voice." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3401.

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The purpose of this project is to assist voice teachers in training tenors by selecting forty art songs that are pedagogically useful in the training of the tenor voice, and providing specific pedagogical strategies for the learning process of the selected repertoire. The list of repertoire consists of ten art songs from each of the four main Western singing languages: Italian, English, German, and French. These four languages have been selected because they represent the vast majority of standard art song repertoire for the typical undergraduate tenor. What is missing in current literature, and what this project addresses, is a pedagogically focused analysis of carefully chosen set of art song repertoire for the tenor voice. This project aids teachers and young tenors in technique and repertoire selection by identifying technical issues in each song, explaining ways to approach those technique issues, and highlighting positive pedagogical results from learning each song. By following the strategies set forth in this project, the tenor and teacher will be better equipped to select appropriate art song repertoire beyond those songs presented in this project and address vocal technique through the song learning process. The body of the dissertation begins with a discussion of pedagogical areas in which the tenor's technique is most distinct from other voice parts including: passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility. A brief introduction of each song will include stylistic information on the piece and analysis of the song including range, tessitura, level of difficulty, and vocal demands. I will then discuss specific examples of difficult melodic passages, or phrases that are of pedagogical value and offer specific exercises that can aid the tenor in the song learning process. The information discussed in each song provides a starting point for further repertoire selection beyond this project by introducing the teacher and tenor to composers, collections, or cycles that logically supplement the list of selected repertoire.
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2

Talbott, Christy Jo. "The French art song style in selected songs by Charles Ives." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000455.

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3

Saunders, Jessica Anne. "Songs of the Kalevala: art song inspired by the Finnish national epic." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5622.

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The Kalevala, first published in 1835 by Elias Lönnrot, is the Finnish national epic and was fundamental in formalizing the Finnish language. It is a collection of stories Lönnrot collected over many years, pieced together to create a coherent epic. The stories in the Kalevala stem from an oral tradition, in which singing and music was integral. The stories in the epic contain many different characters, with Väinämöinen and his quest in to find a wife at the forefront. Other major characters discussed include Kullervo, Lemminkäinen, and Luonnotar. Extensive research exists about the history of the Kalevala itself, as well as its impact on music in Finland in the areas of pop music, symphonic music, choral music, and opera. However, little scholarship exists, regarding how the texts from the Kalevala have been incorporated into 19th and 20th century art song. The lack of research about the Kalevala in art song is due partly to the fact that no catalogue of related songs exists. Also, works based on the Kalevala are hard to obtain, as many are only available in manuscript form, or are found only in the Finnish National Archives. This essay aims to bridge the research gap on art song inspired by the Kalevala, while evaluating the works available in the context of their incorporation of the folk singing tradition that would have been used in the early performance of these Kalevala texts. Songs analyzed include works by Gabriel Linsén, Emil Kauppi, Jean Sibelius, Otto Kotilainen, and Erkki Melartin.
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4

Romriell, Mackenzie Kay, and Mackenzie Kay Romriell. "Classically Unsung: The Art Songs of Alec Wilder." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/623029.

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The compositions of American composer, Alec Wilder, span multiple, often disparate, genres within the classical and popular music styles. During his lifetime, much of Wilder’s greatest success came from his popular songs. However, his body of work is much more vast, and some of his vocal work should be classified as art song. Wilder’s formal training, aptitude for learning, and experiences with popular music provided him with a diverse artistic palette and a unique musical voice. This resultant style is eclectic and includes modality, rhythmic motives, melodic figures, extended harmonies, and text painting.Wilder scholars, David Demsey and Ronald Prather categorized one hundred and seventeen of Wilder’s compositions as art songs. From this group, nine songs were selected and analyzed according to academically accepted characteristics of Art Song: poetry, harmony and melody, the relationship between the voice and the piano, text setting, phrasing and structure, form, and vocal demands in order to justify the songs’identification as art songs. Furthermore, this document contains brief biographical information on Alec Wilder’s life, career, and varied musical endeavors as well as a concise discussion of scholarly literature concerning the composer and his oeuvre.Alec Wilder composed music within multiple genres and styles. His output is prolific, yet his art songs remain relatively unknown. It is hopeful that this document will bring new attention to Alec Wilder, and, specifically, his art songs.
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5

Lin, Yi-Cherng. "The essence of twentieth century American art songs." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9698.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;
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6

Miguel, Nicholas Edward. "The art songs of Modesta Bor (1926-1998)." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6213.

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This essay introduces readers to the music of the Venezuelan composer Modesta Bor (1926-1998) and provides a resource for interpretation of her art songs for voice and piano. Bor was an important composer in Venezuela with a successful career in composition, pedagogy, and conducting. However, she is not widely known outside of Venezuela and scholarship on her art song is limited. This study seeks to fill that void by examining Bor’s twenty-nine published art songs for solo voice and piano. These works include the song cycles/collections Tres canciones infantiles para voz y piano, Canciones infantiles, Primer ciclo de romanzas para contralto y piano, Segundo ciclo de romanzas para contralto y piano, Tríptico sobre poesía cubana, and Tres canciones para mezzo-soprano y piano, as well as nine ungrouped songs. Bor’s art songs are notable for her imitation of Venezuelan folk and popular music in the vein of Figurative Nationalism, her sophisticated harmonic language, and neoclassical techniques such as ostinato and motivic variation. This essay aims to help performers begin to understand the allusions to the national music of Venezuela. Her music elevates the llanero, the common rural laborer, and comments on the social issues of her people. This essay provides a brief history of Venezuelan music, a biography of Bor, and brief biographies of the poets used. It also contributes original poetic and musical analyses of her art songs, exploring the areas of form, melody, rhythm, and harmony. Venezuelan Spanish and the lyric diction appropriate for Bor’s songs are discussed. Poetic translations, word-for-word translations, and International Phonetic Alphabet transliterations are included for all of the poetry used.
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7

Posner, David M. "Reviving a lost art : piano music of Russian-Jewish origin /." Access Digital Full Text version, 1988. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10809193.

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8

Tarikci, Abdurrahman. "Analysis Of Turkish Art Music Songs Via Fractal Dimension." Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12611567/index.pdf.

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Forty songs are randomly selected from four randomly selected maqams. Songs are restricted to be in sofyan usü
l (sofyan rhythmic form) to check the statistical significance. Next, fractal dimensions of the these songs are calculated by using two different method and two different scattering diagrams. In the first method, fractal dimensions are calculated via two different box sizes. As for second method, successively decreased box sizes are used. In addition, standard deviation and mean values of the fractal dimensions are calculated to check the relation between fractal dimension and maqam. T test and F test are applied to check the statistical significance. After these calculations, it is verified that fractal dimension can be used as an information source concerning the Turkish art music songs which are nonlinear dynamical systems. Moreover, it is showed that maqams can have their own fractal dimension for low resolutions. On the other hand, it is seen that for high resolutions all songs have almost same fractal dimension.
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9

Lin, Yanyan. "The Art Songs of Huang Zi: A Selective Study." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594938239554979.

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10

Wood, Kenneth Edward. "An investigation and analysis of selected Victorian art songs /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004204.

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11

Jandura, Tereza. "Her Own Voice: The Art Songs of Vítězslava Kaprálová." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/193524.

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This paper presents an examination of the art songs of Czech composer Vítězslava Kaprálová (January 24, 1915 - June 16, 1940) through detailed analysis of selected works. Kaprálová created a unique character for each of her art songs, with careful attention to idiomatic declamation and syllable stress, tone-painting in the accompaniments, and the use of primarily "post-impressionistic" stylistic techniques. Most importantly, this study focuses on the fact that her composition was firmly rooted in the text, and that her choice and adaptation of text convey important autobiographical motivation as well as insight into her character and personality.
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12

Cardwell, Robert Ewell. "A Survey of 21st Century Gay-Themed American Art Songs for Baritone." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703289/.

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The majority of repertoire catalogs for singers, printed and digital, often list works by voice type, language, and/or genre. The 21st century has seen an emergence of online classical music catalogs where the user can seek repertoire by searching composers from underrepresented communities (i.e., women, Black, LGBTQ, Latinx). What does not currently exist is a resource that catalogs songs for solo voice dealing specifically with gay subject matter. This dissertation surveys seventeen 21st century gay-themed art songs by four living American composers: David Del Tredici, Ben Moore, Clint Borzoni, and Gary Schocker. Each chapter introduces a different composer and a select representation of their gay-themed art songs. Each entry includes text analysis based on the composer's and author's intentions and a brief analysis to determine pedagogical and musical difficulty. It is my intent that this document will facilitate a much-needed resource and encourage further study, promotion, and performance of voice works with gay themes. Moreover, I hope that it will serve as a tool for the applied voice teacher to assist in the vocal and artistic development of their students through broader repertoire choices.
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13

Lien, Anthony Marcus. "Against the grain : modernism and the American art song, 1900 to 1950 /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.

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14

Chi, Mei-Fung Agnes Kang. "A Performance guide for contemporary Chinese art songs from Taiwan /." Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11974527.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1996.
Typescript; issued also on microfilm. Sponsor: Lenore Pogonowski. Dissertation Committee: Harold F. Abeles. Accompanying tape has Recitation of Chinese poems. Includes bibliographical references (leaves 251-257).
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15

Smith, Bethany Jo. "Song to the dark virgin race and gender in five art songs of Florence B. Price /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1186770755.

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Thesis (Master of Music)--University of Cincinnati, 2007.
Advisor: Melinda Boyd. Title from electronic thesis title page (viewed Feb. 5, 2008) Includes abstract. Keywords: Florence Price, black art song, African-American art song, women composers, African-American composers, Negro Renaissance. Includes bibliographical references.
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16

Lee, Hyun Min. "French art songs for high voice by famous opera composers." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3198.

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17

Fisher, Cozza Robin Lee. "The writings and art songs of John Duke 1917-1945 /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023544.

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18

Van, Rhyn Chris. "Towards a mapping of the marginal : readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85813.

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Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity.
AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.
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19

Benningfield, Brittany C. "THE NILES-MERTON SONGS: A PERFORMANCE GUIDE OF SELECTED SONGS." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/110.

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The Niles-Merton Songs is a two-opus collection of twenty-two songs by John Jacob Niles setting the poetry of Thomas Merton. The songs are beautiful but contrast from his more popular works in poetry and composition. This project explores reasons why these songs are rarely performed, and gives an overview and analysis of ten selected pieces. The document includes a brief introduction, biographies of Niles and Merton, information detailing Niles’s compositional process, and the technical and artistic requirements for performing the songs, including appropriate age and voice type.
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20

Bright, Kimberly J. "The History and Importance of Welsh Art Song: The Soprano Repertoire of Dilys Elwyn Edwards." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237834773.

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21

Jones, Raymond. "A comprehensive catalog of the published art songs of Ottorino Respighi /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40039134v.

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22

Struve, Jonathon Paul. "Friedrich Hollaender and the art of writing songs for the cabaret." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5650.

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Friedrich Hollaender (1896-1976) was one of the most prolific composers of cabaret song literature in Berlin between 1918 and 1933. Beginning with his work at the literary-political cabarets of the early 1920s, including Max Reinhardt’s Schall und Rauch, Trude Hesterburg’s Wilde Bühne, and Rosa Valetti’s Café Größenwahn and continuing through the cabaret revues presented at Hollaender’s own Tingel-Tangel-Theater in the early 1930s, Hollaender wrote over 200 cabaret songs. A classically trained composer who studied with Engelbert Humperdinck, Hollaender ultimately found his niche in creating cabaret songs that clearly evoked the mood and environment expressed in the texts he set. In this way, Hollaender elevated and expanded the expressive power of music in the cabaret. At the same time, Hollaender did not revolutionize the cabaret song. Instead, he worked within the traditional framework of the cabaret song, adapting his compositional style to fit the expectations of the genre. Cabaret songs privilege the clear expression and declamation of the text. Thus, most cabaret songs exhibit a simple musical framework. Performers often spoke or intoned the text rather than singing the melody, and as a result, cabaret songs often double the melodic line in the accompaniment so that it can be heard and recognized during the performance. This practice differs markedly from art song, in which the melody and accompaniment serve as equal partners in expressing the text as a unified musical work and the singer is expected to sing the melody provided by the composer. Much of Hollaender’s work in the cabaret involved an effort to infuse the cabaret song with the expressive musical force of the art song without altering the traditional performance practice, the freedom to intone the text typical of the cabaret, and the simplified harmony and formal structure of cabaret songs. Hollaender’s ability to immediately capture the essence of the song texts in music is what ultimately made him successful. He also demonstrated an ability to adapt to the swiftly evolving tastes and expectations of cabaret audiences during the tumultuous Weimar Era. His adherence to a philosophy of music for the cabaret that would “explode in a lightning flash” and create a mood that would be “present in the first beats,“ along with his flexibility in responding to the evolving taste of the public allowed Hollaender to enjoy a sustained, successful career in the cabaret. His enormous output of cabaret songs is a testament to his effectiveness and success as a composer, writer, and producer in Berlin cabaret theatres. The purpose of the study is to understand how Hollaender’s work elevated the expressive force of the musical settings for cabaret songs through the analysis of the text and the music of his cabaret songs. This study explores representative examples of Hollaender’s cabaret songs composed for Berlin theaters between 1919-1933. The songs were primarily selected to demonstrate the wide variety of musical expression Hollaender was able to achieve in his song settings within the confines of traditional cabaret song forms, particularly the couplet and the role chanson. A wide variety of subject matter is covered in these cabaret song settings, from political and social satire to adapted folktales, and from playful character pieces to defiant antimilitarist statements and poignant illustrations of poverty and hardship. In addition, the cabaret songs included in the study emerge from significant collaborative relationships the composer developed, most notably his early collaborations in literary-political cabaret theaters with satirist and poet Kurt Tucholsky, Dada author Walter Mehring, and performer and first wife Blandine Ebinger. Finally, songs were chosen from throughout the time Hollaender composed music for the cabaret in order to demonstrate the changing landscape of the cabaret as time progressed. As a result, a significant number of songs in the study emerge from Hollaender’s late cabaret revues, programs of songs, skits and other acts loosely organized around a theme or idea, for which the composer wrote both the text and the music. Because the cabaret by its nature offered commentary on contemporary society, the study includes examples that demonstrate the evolving political and social climate in Germany as expressed in the cabaret song texts. For instance, Hollaender’s cabaret songs written in collaboration with Kurt Tucholsky in 1919-1920 frequently criticize Gustav Noske and the use of paramilitary Freikorps to quell dissent in the fledgling Weimar Republic. By the time of Hollaender’s 1931 cabaret revue Spuk in der Villa Stern, however, Hollaender’s political satire criticizes and lampoons National Socialist rhetoric and caricatures Adolf Hitler. Finally, the songs included in the discussion were also chosen in part due to the availability of musical scores, texts, and recordings. Whenever possible, recordings of the original performers, including Blandine Ebinger, Paul Graetz, and Claire Waldoff were consulted in order to understand performance practices used in Berlin cabarets during the Weimar era. Recordings of modern performers, chiefly Ute Lemper, Tim Fischer, and Jody Karen Applebaum were also explored. Many of the original performers were actors rather than singers, and their style of interpreting their songs with a mixture of spoken declamation and singing demonstrates the importance of clearly expressing the text and its emotional content and creating a complete characterization in the presentation of the song. This style of performing did not diminish Hollaender’s contribution as a composer, but rather created a multilayered hybrid of speech, melody, harmony and rhythm that set for many the standard for excellence in the Weimar era cabaret song. Literal English translations of the songs presented for the study were developed in order to facilitate the discussion of how Hollaender’s music specifically evokes the mood and expression of the text. In addition, the study includes explanations and annotations of the events, historical figures, and cultural icons that are peppered throughout these texts. Because cabaret songs are by their nature a product of the contemporary society out of which they emerge, a basic understanding of the time period is essential to fully comprehend these works. Hollaender’s cabaret songs often employ a Berlin dialect, use colloquial expressions, and assume an understanding of contemporary society in the 1920s that is no longer common knowledge nearly a century later. As a result, the detailed study and translation of the texts were essential to understanding Hollaender’s cabaret song settings. This investigation demonstrates how Hollaender evoked a variety of specific moods and ideas in his cabaret song settings through an economy of musical means. Although his music adhered to the conventions and traditions of the cabaret song by employing simple harmonic structures and an almost exclusive use of verse-refrain song form, the composer effectively used dissonance, rhythmic motives, chromaticism, mode-mixture, melodic shape, and other compositional techniques to great expressive effect that clearly reflected the wide variety of environments and moods described in his texts. The result is that the text and music are wedded in Hollaender’s cabaret song settings in such a way that they become a unified expressive art form.
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23

Anderson, Quiliano Niñeza. "Kundiman love songs from the Philippines: their development from folksong to art song and an examination of representative repertoire." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1821.

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In the Philippines, a type of love song known as the Kundiman had existed since the early 19th century. But in the early 20th century Kundiman had developed into art song. The term Kundiman comes from the Tagalog phrase “kung hindi man” or “if it were not so”. Written in the Tagalog language, these folksongs were subtly patriotic but typically disguised as love songs. Filipinos, in their long struggle against an oppressive Spanish regime, saw it as a tool that would ultimately unite Filipino revolutionaries to wage war against the Spaniards in 1896 during the Spanish-American War. The composer Francisco Santiago (1889-1947) is sometimes called the “Father of Kundiman Art Song.” While his masterpiece is considered to be his Concerto in B flat minor for pianoforte and orchestra, one of his most significant piece is his song “Kundiman, (Anak-Dalita)”, the first Kundiman art song. Santiago regarded the Kundiman art song as something “that expresses the lofty sentiment of love, and even heroism in a melancholy mood.” Given the cross-fertilization of Spanish and Filipino cultures in the 19th century, Kundiman art songs were typically a blend of melodic material from native folksong and European music traditions. The result is a song characterized by smooth flowing lines and beautiful melodies. The piano accompaniments are typically full in texture, sometimes containing countermelodies, sometimes merely harmonizing with the vocal line in thirds and sixths. One other significant early composer of Kundiman art songs was Nicanor Abelardo (1893-1934). His songs, together with those of Santiago’s became models for other Filipino composers such as Constancio De Guzman (1903-1982) and Miguel Velarde, Jr. (1913-1986) in the decades following Abelardo’s death. The purpose of this essay is to shed some light on this unique genre of song, and provide the tools necessary to study and perform these representations of Filipino culture and history. To do this, I have provided brief background information on the origins of Kundiman art song. I have also provided a guide to pronunciation, grammar and the idiosyncracies of the Tagalog dialect. Finally, this essay contains a performance guide for 20 representative Kundiman art songs, including original texts, literal and prose translations, International Phonetic Alphabet (I.P.A.) transcriptions, and suggestions for interpretation and style. In researching and analyzing these songs I have gained an understanding of the aesthetic appeal of Kundiman art songs. More importantly, these songs are not widely known in the classical world. But because of their unique connection to Filipino history and culture, they deserve serious attention. These songs would indeed make a great addition to a recital program.
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Oh, Esther. "Exploring the Pedagogical Aspects of Songs by Giacomo Meyerbeer: The Hidden Jewels of 19th-century Song Repertoire." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/378196.

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Music Performance
D.M.A.
Giacomo Meyerbeer (September 5, 1791-May 2, 1864) was one of the most celebrated composers in the 19th century and the leading exponent of French grand opera. Meyerbeer's operas were immensely popular; for example, his opera Robert le diable was performed 100 times in Paris alone and was featured on the programs of 77 theatres in ten countries, all within three years of its première. Meyerbeer's collaboration with Eugène Scribe, who was the most famous librettist of the century, began with Robert le diable (1831) and their partnership continued for the creation of Les Huguenots (1836), Le prophète (1849), and L'Africaine (1865). Meyerbeer's larger-than-life operas defined the genre of French grand opera. Meyerbeer was a serious, dedicated composer who composed mostly for the stage, but he also wrote sacred music, choral music, instrumental music, and songs. Meyerbeer composed over 50 songs, mostly mélodies and lieder that were translated and published in both German and French. He also composed some Italian canzonette. Meyerbeer's songs are rarely performed in recitals, however, they have originality, beauty, intensity, and theatricality and are worthy to be explored, performed, and cherished. His operas featured unconventional and sensational scenes, tragic love stories set in the middle of the whirlwind of political and religious clash, and bigger-than-life sets to transport his audience to exotic, faraway places. Did Meyerbeer lend the same magical touch to his songs? Was he able to create the same story line of epic portion as he did in his grand operas? My goal is to provide an introduction to the Meyerbeer song repertoire which as a result will encourage more voice teachers, students, and professional performers to incorporate Meyerbeer's outstanding, yet rarely performed songs into their recital programs. In the charts, Meyerbeer's songs are organized by three language groups: Italian, French, and German, and are organized alphabetically by title within each language group. Each chart has eight columns: number; song title; lyricist; year of composition; range; additional available singing translations; difficulty level; and comments. Six songs in total, with two songs from each language group, are chosen and analyzed to explore Meyerbeer’s songs in depth. The selected songs are from various points of Meyerbeer’s career, and are of different levels of difficulties, topics, lengths, and moods.
Temple University--Theses
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Perez, Flora Olga Cristina. "Ernesto Lecuona: HIs Life and His Songs." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1373372039.

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26

Kreider, Paul Kevin. "The art songs of Daron Hagen: Lyrical dramaticism and simplicity with an interpretive guide to "Rittenhouse Songs" and "Resuming Green"." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/288968.

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This document examines lyrical and dramatic aspects of the songs of composer Daron Hagen. The study shows how Hagen's uses of articulation, melody, form, dynamics, harmony, text painting, word painting, and tonality enhance the dramatic elements of the poems without sacrificing lyricism. The research began with performances by this writer of the works of Hagen and continued with interviews and further performances. Discussion of the lyrical and dramatic elements of Hagen's vocal works forms the body of the document and illustrations facilitate study of the works. An interpretive guide for two song groups will assist vocal performers to understand these songs and possibly lead to improved interpretive practices. A complete listing of the composer's vocal works concludes the document.
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Riggs, Rawlianne. "The Brazilian Art Song and the Non-Brazilian Portuguese Singer: A Performance Guide to Nine Songs by Alberto Nepomuceno." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505176/.

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Alberto Nepomuceno (1864-1920) is considered to be the father of the Brazilian art song. With a total of seventy songs, Nepomuceno revolutionized and established a new path to the Brazilian art song. His songs were innovative because they: (1) incorporated folk elements in his songs, (2) introduced Portuguese as a language acceptable in bel canto style and (3) established Brazilian songs in the tradition of the European vanguard. His approach influenced several composers including his young student Heitor Villa-Lobos (1887-1959), one of the most significant Latin American composers. The purpose of this research is to inform singers and teachers about one of Brazil's most significant art song composers, and to provide the necessary tools--Brazilian Portuguese diction guide, IPA and poem translations of the selected songs--for effective and accurate performances and interpretations.
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28

Anderson, Quiliano Nineza. "Kundiman love songs from the Philippines| Their development from folksong to art song and an examination of representative repertoire." Thesis, The University of Iowa, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3726807.

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In the Philippines, a type of love song known as the Kundiman had existed since the early 19th century. But in the early 20th century Kundiman had developed into art song. The term Kundiman comes from the Tagalog phrase “kung hindi man” or “if it were not so”. Written in the Tagalog language, these folksongs were subtly patriotic but typically disguised as love songs. Filipinos, in their long struggle against an oppressive Spanish regime, saw it as a tool that would ultimately unite Filipino revolutionaries to wage war against the Spaniards in 1896 during the Spanish-American War.

The composer Francisco Santiago (1889-1947) is sometimes called the “Father of Kundiman Art Song”. While his masterpiece is considered to be his Concerto in B flat minor for pianoforte and orchestra, one of his most significant piece is his song “Kundiman, (Anak-Dalita)”, the first Kundiman art song. Santiago regarded the Kundiman art song as something “that expresses the lofty sentiment of love, and even heroism in a melancholy mood”. Given the cross-fertilization of Spanish and Filipino cultures in the 19th century, Kundiman art songs were typically a blend of melodic material from native folksong and European music traditions. The result is a song characterized by smooth flowing lines and beautiful melodies. The piano accompaniments are typically full in texture, sometimes containing countermelodies, sometimes merely harmonizing with the vocal line in thirds and sixths. One other significant early composer of Kundiman art songs was Nicanor Abelardo (1893-1934). His songs, together with those of Santiago’s became models for other Filipino composers such as Constancio De Guzman (1903-1982) and Miguel Velarde, Jr. (1913-1986) in the decades following Abelardo’s death.

The purpose of this essay is to shed some light on this unique genre of song, and provide the tools necessary to study and perform these representations of Filipino culture and history. To do this, I have provided brief background information on the origins of Kundiman art song. I have also provided a guide to pronunciation, grammar and the idiosyncracies of the Tagalog dialect. Finally, this essay contains a performance guide for 20 representative Kundiman art songs, including original texts, literal and prose translations, International Phonetic Alphabet (I.P.A.) transcriptions, and suggestions for interpretation and style.

In researching and analyzing these songs I have gained an understanding of the aesthetic appeal of Kundiman art songs. More importantly, these songs are not widely known in the classical world. But because of their unique connection to Filipino history and culture, they deserve serious attention. These songs would indeed make a great addition to a recital program.

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29

Kim, Yu-Jin. "How to prepare for foreign art songs : an innovative method for beginning singers /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11221.

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Campelo, André. "SINGING PORTUGUESE NASAL VOWELS: PRACTICAL STRATEGIES FOR MANAGING NASALITY IN BRAZILIAN ART SONGS." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/89.

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The articulation of Portuguese nasalized vowels poses some articulatory problems accompanied by negative acoustic effects for the performance of Brazilian art songs. The main objective was to find strategies that permit the singer to conciliate an idiomatic pronunciation of these vowels with a well-balanced resonance, a desirable quality in classical singing. In order to devise these strategies, the author examined sources dealing with nasalized vowels from varied perspectives: acoustic properties of vowel nasalization, phonetic and phonological aspects ofBrazilian Portuguese (BP), historical views on nasality in singing, and recent vocal pedagogy research. In addition to the overall loss of sonority, the main effect of nasalization is felt mainly in the first formant (F1) region of oral vowels, due to the introduction of nasal formants and antiformants, and to shifts in the tongue posture. Several sources report the existence of a nasality contour in BP, by which a nasalized vowel starts with an oral phase and transitions gradually to a nasal phase. The author concludes that the basic approach to sing nasalized vowels in BP is (1) to find the tongue posture corresponding to the oral vowel congener (the “core vowel”), and (2) to adjust the nasality contour in such a way that the oral portion remains prominent in order to keep the resonance balance consistent during the emission of the vowel. Once the core vowel is determined, standard vowel modification choices can be made according to voice type and the musical context in which the vowel is being sung. Some challenging excerpts from Brazilian art songs are examined, with suggestions for the application of the discussed strategies.
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31

Ikach, Yugo Sava. "A study of selected songs by Leonard Bernstein which reflect his contribution to the evolution of art song in America." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3219.

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Thesis (D.M.A.)--West Virginia University, 2003.
Title from document title page. Document formatted into pages; contains vii, 94 p. : music. Includes abstract. Includes bibliographical references (p. 91-94).
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32

Calkin, Joshua Russell. "The singing tuba : art songs transcribed for tuba and piano as beginning lyrical etudes." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1434.

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33

Byun, Eun-Jung. "Music and Oppression: Korean art song based on poetry from the Japanese Occupation Period (1910-1945)." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/27991.

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The first Korean art song was composed in 1922 during the period of Korean history that has now come to be known as the Japanese Occupation Period (1910-1945). This project focuses on art songs which were based on poetry written during the Japanese Occupation Period, and on the compositions of various Korean composers who integrated both western music and Korean poetry into a European-established genre that has existed for hundreds of years. Three poets: Jeong Ji-Yong (1902-1950?), Kim Sowol (1902-1934) and Yun Dong-Ju (1917-1945) who were all active during this period have been selected. Their poetry was set to music by thirty-nine Korean composers from different generations with the years of composition ranging between 1927 and 2017. Most art songs based on Jeong’s poetry were composed from 1933 and a significant number of Kim’s poems were set to music with Korean traditional music influences between 1937 and 1979. Yun was recognized as a poet posthumously, but his works are continually chosen by contemporary composers in Korea whose works display some of the traits of modern Korean art song compositions. Using the compositions based on poetry written under political oppression, this study will trace the development of the art song genre in Korea.
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34

Haggett, Matthew. "Songs and Stories that Only You Know: Multiplicity, Meaning, & the Metaphorical Bridge." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5191.

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The thesis report will serve as a companion for the body of work that is the bulk of the thesis project. The theme of the thesis project is "the bridge". "The bridge" is a metaphor for meaning occurring through context. It is present on many levels. It will implicit in much of the discussion. I will include themes such as the play of differing scales, the ambiguous line between part and whole, and the reasons for the book format . Specific imagery that occurs repeatedly in the work, like architecture and knots, will be explained in terms of its sources, personal meaning, and formal and conceptual roles. My interests in poetry is also a necessary topic as poetry is both present in the thesis work and implicit in my ideas about art as language. The thesis report will be secondary to the thesis work. It is of primary importance that the work can stand on its own. The ideas discussed in the thesis report must be accessible through the work itself (to a greater or lesser degree). To this effect, the thesis report will not be an attempt to convince, coerce, or cajole the unswayed viewer.
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35

Hansen, Robert H. (Robert Howard). "The Songs of Lennox Berkeley: A Lecture Recital, Together with Three Recitals of Selected Works of F.P. Schubert, G. Fauré, C. Debussy, F. Poulenc, M. Ravel, H. Wolf, J.S. Bach, G.F. Handel, I. Stravinsky, and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc332223/.

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The English art song in the 20th-century presents a performance challenge unique in the solo song repertoire. Unlike the corresponding bodies of German Lied and French mélodie, which proceeded from a well-ingrained national tradition of music and poetry, the English art song had no such background. The many British composers who have contributed to the song literature of this century reflect varied backgrounds and influences. Lennox Berkeley combined his English heritage with the French background of his mother's family, largely self-taught musical skills and an innate sensitivity to poetry to become one of the most prominent song composers of this century. He trained with Nadia Boulanger, gaining exposure to the formal and melodic techniques of Faure and the neo-classicism of Stravinsky. Berkeley composed a total of seventy-eight solo songs. His acceptance and furtherance of a fundamentally traditional songmaker's craft place him more directly in the post-war line of succession of English song than Benjamin Britten, whose innovative musical techniques place him in the vanguard of new music.This document explores those aspects of Berkeley's life and work that contribute to his compositional choices. It provides an overview of all of Berkeley's known solo songs as well as a more detailed analysis of Five Songs (Walter de la Mare), Five Poems CW.H. Auden) and Another Spring. The paper illustrates the qualities of Berkeley's songs which justify his inclusion among the most successful art song composers of this century
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Adrian, Stephanie McClure. "The art songs of André Previn with lyrics by Toni Morrison : Honey and Rue and Four Songs for Soprano, Cello and Piano a performer's perspective /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486400446370597.

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37

Sun, Yung-Wei. "A Performance Guide to Mandarin-Chinese Diction and Selected Art Songs by Yiu-Kwong Chung." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339551292.

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38

Gibbs, Levi Samuel. "Song King: Tradition, Social Change, and the Contemporary Art of a Northern Shaanxi Folksinger." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371429829.

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39

Hill, Colin. "Leonard Cohen's lives in art, the story of the artist in his novels, poems, and songs." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29547.pdf.

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40

Hill, Colin 1970. "Leonard Cohen's lives in art : the story of the artist in his novels, poems, and songs." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26737.

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The concerns of the artist-figure are a central issue in the work of Leonard Cohen. His novels, poems, and songs, seen as a whole, form a portrait-of-the-artist. Cohen's artist-story is crafted with attention to the romantic tradition of the Kunstlerroman but extends beyond an initial apprenticeship phase, the focus of the Kunstlerroman, offering a more extensive exploration of the artistic vocation. The artist-figure, as he develops, encounters conflicts between his vocation and the demands of the outside world. Cohen's artist-figure endeavours both to make art and to self-create, and this creative impulse is simultaneously propelled and hindered by the romantic-love relationship, by the demands of an artist's role in the public sphere, by the aesthetic requirements of art itself, and by spiritual and religious issues. The last of these four concerns provides the artist-figure with a degree of lasting comfort through its mediation of some of the ongoing internal struggles of the artistic temperament. Cohen's portrait-of-the-artist attains a degree of depth and perspective by his own artistic persona's intrusion into his work, a persona he constructs in an ironic, self-conscious, and self-reflexive fashion.
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41

Wells, Robert Allen. "David Diamond as Song Composer: A Survey of Selected Vocal Works of David Diamond With a Theoretical and Stylistic Analysis of Six Early Songs, The Midnight Meditation, and Hebrew Melodies." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1163480150.

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42

Kimbell, Sara E. "The Romantic Pilgrim: Narrative Structure in Samuel Barber's Hermit Songs." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1274965990.

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43

Allnatt, Mallory Leslie Jane. "The art songs of Thomas Pasatieri: a discussion of the pedagogical uses within the private voice studio." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3037.

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Thomas Pasatieri is a prolific American composer of the twentieth and twenty-first centuries. Although Pasatieri is best known as an opera composer, he has composed in many different genres, and his numerous art songs have often been overlooked. This study evaluates Pasatieri's currently published song catalog and divides it into three groups of songs that correspond to the varying pedagogical needs of students. The first group presented in this document addresses the needs of the beginning vocal student. The songs are harmonically tonal, textually accessible, rhythmically uncomplicated, and metrically stable. The second group is more appropriate for the intermediate singer. The songs are highly chromatic and their harmonic progressions do not necessarily follow the rules of functional tonality; the texts are longer and more complex, the rhythmic and metric content are likewise more difficult, and the melodies are more disjunct, often exploring the extremes of the vocal range. The third and final group is most suitable for the advanced singer. The harmonies are challenging and explore an array of organizations, the texts are esoteric, the melodies are often unified through recurring motivic gestures, and the songs rarely contain any formal repetition. These groupings are intended to help teachers and students choose repertoire from Pasatieri's oeuvre that suit each individual student. This study includes a discussion of representative songs from each group within the chapters and a catalogue of all of Pasatieri's published songs arranged by group in the appendices.
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44

Click, Sarah D. "Art Song by Turn-of-the-Century Female Composers." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278468/.

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Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of analysis serves as a means to guide musical decisions in the actual performance of the works. The conclusion briefly discusses performance practice issues and the possibility of a turn-of-the-century feminine aesthetic.
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45

"The Songs of Georgia Stitt Hybridity: Art Song and Musical Theatre." Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.49171.

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abstract: A resurgence of the American art song is underway. New art song composers such as Adam Guettel, Michael John LaChiusa, and Georgia Stitt are writing engaging and challenging songs that are contributing to this resurgence of art song among college students. College and University musical theatre programs are training performers to be versatile and successful crossover artists. Cross-training in voice is training a performer to be capable of singing many different genres of music effectively and efficiently, which in turn creates a hybrid performer. Cross-training and hybridity can also be applied to musical styles. Hybrid songs that combine musical theatre elements and classical art song elements can be used as an educational tool and create awareness in musical theatre students about the American art song genre and its origins while fostering the need to learn about various styles of vocal repertoire. American composers Leonard Bernstein and Ned Rorem influenced hybridity of classical and musical theatre genres by using their compositional knowledge of musicals and their classical studies to help create a new type of art song. In the past, academic institutions have been more accepting of composers whose careers began in classical music crossing between genres, rather than coming from a more popularized genre such as musical theatre into the classical world. Continued support in college vocal programs will only help the new hybrid form of American art song to thrive. Trained as a classical pianist and having studied poetry and text setting, Georgia Stitt understands the song structure and poetry skills necessary to write a contemporary American art song. This document will examine several of Carol Kimball’s “Component of Style” elements, explore other American composers who have created a hybrid art song form and discuss the implementation of curriculum to create versatile singers. The study will focus on three of Georgia Stitt’s art songs that fit this hybrid style and conclude with a discussion about the future of hybridity in American art song.
Dissertation/Thesis
Doctoral Dissertation Music 2018
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46

Wang, Hsin yu, and 王歆妤. "The Analysis and Interpretation of Six Songs from Cimara’s Art Songs." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/57472181693656919328.

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碩士
國立臺中教育大學
音樂學系碩士班
103
Pietro Cimara (1887-1967) was an Italian composer, conductor and piano accompanist. His works were not well known as his contemporaries such as Ildebrando Pizzetti (1880–1968) and Gian Francesco Malipier (1882–1973). In recent years, however, Cimara’s art songs has been more frequently performed in Japan and Taiwan due to their beautiful melodies and emotional expressiveness. In this thesis, Pietro Cimara’s works and related discussions are collected to provide an overview of Cimara’s life and his musical style. I have selected six songs by Cimara, including “Nostalgia”, “Fiocca la neve”, “Le campane di Malines”,“Invito alla danza”,“Visione marina”and “Maggiolata”for further formal analysis. This thesis will first introduce Cimara’s life, which is followed by the background of the poets whose works provided inspiration for Cimara’s songs. I will then analyze the six songs’ poetry and melody through the perspective of the singer.
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47

Yang, Hui-Ting Hoekman Timothy Xiao Tairan. "Selected Taiwanese art songs of Hsiao Tyzen." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-05062006-231539/.

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Treatise (D.M.A.) Florida State University, 2006.
Advisor: Timothy Hoekman, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-16-07). Document formatted into pages; contains 76 pages. Includes biographical sketch. Includes bibliographical references.
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48

張孝瑜. "Interpretation of Henri Dupar'c French art songs." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/33956890743876611765.

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49

Thomas, Eugene Robert. "A recital of art and dramatic songs." 1988. http://hdl.handle.net/2097/23806.

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50

Chen, Ponling, and 陳芃伶. "A Study on Donizetti''s Art Songs." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/83207551707545628377.

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碩士
中國文化大學
音樂研究所
90
Abstract I. Objectives Donizetti is one of the greatest Italian opera composer in early nineteen century, and a key figure in the development of Italian opera. He was particularly famous for his skill at fast writing operatic works. Most people are familiar with his beautiful melodies of arias, but his effort towards arts songs has played an important role in the development of art songs. Since I started singing Donizetti’s art songs, I’m deeply fascinated by their gracefulness and profoundness. On the one hand, I wish to sing more of his songs. And on the other hand, there are very few music performances or research on his art songs. Therefore I begin collecting data to do a basic analyze and interpretation on the music context. II. Resources Books, research papers, scores, theses, auditory and visual recordings on Donizetti’s art songs. III. Methods 1. A simple musical analyze to the musical structures and context. 2. Practice singing and go asking experts and professors on vocal skills. 3. Watching or listening to the recordings. 4. A bibliography of Donizetti’s art songs. IV. Outcomes 1. To understand the musical features on Donizetti’s art songs. 2. To interpret Donizetti’s art songs in order to grasp the best way of “bel canto” singing. 3. To help singers interpreting Donizetti’s art songs. 4. To enter the “bel canto” world by basing on Donizetti’s art songs. Key words: art song, early romantic period, “bel canto” singing, Italian opera, Donizetti
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