Dissertations / Theses: 'Song cycle'

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Mitchell, Mark Howard. "Season songs : a song cycle for voice and orchestra." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32242.

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Season Songs is a song cycle for mezzo-soprano (or tenor) and medium sized orchestra (a perfoming version for voice and piano is appended). There are four songs and an orchestral prelude. The poems are by various authors and provide the programmatic elements of the cycle in that each poem is set in a different season of the year and time of day: winter/morning, spring/afternoon, summer/evening, and autumn/night respectively. The title of the prelude sets it just before dawn. The music of the prelude and the last song is closely related both motivically and tonally, thus reinforcing the cyclical nature of the work. The accompanying commentary seeks to explain the compositional processes and aesthetic principles which guided the creation of Season Songs. The music explores nonfunctional tonality, in that means other than traditional tonic-dominant (i.e., V-I) relationships are sought by which to create a sense of forward propelled harmonic motion. This sense of harmonic "trajectory", in conjunction with appropriate rhythmic proportions, is held to be one of the most important factors contributing toward the sense of departure and return, tension and resolution in the music. The main means used toward this end is a four-note source cell which governs much of the harmonic and motivic activity in the work, from the most local level of leading motives of individual songs to the broadest level of key relationships among songs. The harmonic manifestation of the source cell promotes root movement by major thirds and minor seconds on the local as well as broad levels. Sonorities associated with traditional tonality, such as open fifths in the bass and major or minor triads, are common, although the contexts in which they are heard are usually non-traditional. The metric pulse is usually distinctly articulated and readily intelligible, although changes in metre are frequent in most of the songs. The text setting aspires to a directness of expression. The words will be intelligible in performance and the music reflects and magnifies the emotional content of the the text. While there are several levels on which the music can be appreciated, over-obscurity is avoided, as a rule, especially in the composition of the musical surface.
Arts, Faculty of
Music, School of
Graduate

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Chen, Ching-Yi. "A Performer's Guide to John Musto's Song Cycle, Quiet Songs." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1331099604.

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Williams, Jeffrey C. "Love and Loss: A Contemporary Song Cycle." Youngstown State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1588778516530969.

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Cupido, Conroy Alan. "Significant influences in the composition of Hendrik Hofmeyr's song cycle, Alleenstryd." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12110.

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Krajewski, Nancy L. "The hollywood songbook : Hanns Eisler's exile song cycle /." May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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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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Madsen, Pamela A. Sexton Anne. "The Sexton cycle : settings of Sexton for soloists, chamber ensembles, and tape /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9974112.

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Thesis (Ph. D.--Music)--University of California, San Diego.
Vita. Includes scores for most of the instrumental works within the composer's The Sexton cycle; excludes opening work, What's that, and the purely tape Redcuts. Accompanying tape includes recordings of the sections, Hutch, The red shoes, Redcuts, and Demon (extract) from Consorting with angels.

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Redman, Carolyn E. "Songs to the moon: a song cycle by Jake Heggie from poems by Vachel Lindsay." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1101848827.

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Redman, Carolyn Elizabeth. "Songs to the moon a song cycle by Jake Heggie from poems by Vachel Lindsay /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1101848827.

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Thesis (D.M.A.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xiv, 159 p.; also includes graphics Includes bibliographical references (p. 147-149) and discography.

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Arnold, Daniel. "April: A Song Cycle for Low Voice and Chamber Orchestra." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/11.

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An original composition in five movements for voice and a chamber orchestra of eleven instruments. The first movement is an overture; the second and fifth movements have text by Sara Teasdale; the third and fourth movements have text by Edna St. Vincent Millay.

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Johnson, Mikhail Maurice. "Jamaican Plight: A Song Cycle for High Voice and Piano." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1493917086021239.

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Zeniodi, Zoe. "Frank Ticheli: An American Dream." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/396.

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The purpose of this study is to present various insights into Frank Ticheli's song cycle, An American Dream. Frank Ticheli is an American composer, born in 1958, mainly known for his music for concert band and wind ensemble. He has also composed various orchestral pieces, which are very important. This essay provides a general overview of all his orchestral oeuvre until 2010. It then focuses on the genesis and creation of his orchestral song cycle An American Dream. Deep study of the score and preparation for performance and recording were used to give insights into this work, which is subtitled: A Symphony of Songs for Soprano and Orchestra. Direct communication with Frank Ticheli proved most helpful. The essay also refers to performance issues and assessment of the work for performance with various types of orchestras. Part of this essay is the inclusion of the recording of An American Dream, which took place in November 2009, at the Gusman Hall, University of Miami, Frost Symphony Orchestra, Zoe Zeniodi, conductor. Leilah Dione Ezra is the soprano on the recording.

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Hung, Justin. "Songs about Words." Digital Commons @ Butler University, 2020. https://digitalcommons.butler.edu/grtheses/523.

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A song cycle for baritone and mixed chamber ensemble, "Songs about Words" consists of five songs for everyday concepts and subjects, and explores deeper themes of communication and identity. The ensemble consists of piano, accordion, tenor saxophone, percussion and double bass. The text was inspired by Pablo Neruda and written by the composer.

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Huff, William E. Jr. "Penelope." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1338.

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We remember Penelope as the faithful wife of the eponymous character from Homer's Odyssey, which focuses on Odysseus's ten-year journey home following the ten-year Trojan War. Despite the outwardly happy ending of Odysseus's return, Penelope is a tragic figure defined by her fidelity if little else. In my telling of Penelope's story, I explore the emotional landscape and loss of identity when one is reduced in such limiting ways and unable to speak for oneself in any other terms than love and devotion to another. Penelope, for soprano and large chamber ensemble, is scored for flute, oboe, bass clarinet (doubling on clarinet), bassoon, horn in F, trumpet in C, trombone, two percussionists, piano, soprano, two violins, viola, cello, and double bass. This ensemble is diverse enough to offer a great range of contrasting--but also complementary--colors while small enough to allow clarity of individual parts. The piece consists of three movements: I. Be still, my heart, my heart, be still II. I do [interlude #1] Twenty Long Years [interlude #2] III. I need him I wish I could remember Odysseus The three movements mark stages of Penelope's decreasing sense of self. The first portrays falling in love characterized by metric ambiguity, rhythmic complexity, and a spectrum built on a B1 fundamental given in the double bass. The second consists of Penelope's vow of fidelity, which is then challenged by Odysseus's abandonment for war. The final movement consists of Penelope professing her love and need for Odysseus once again. But now that twenty years have gone by, those feelings and memories are fading. The music returns to the B fundamental in the last section. But where B had been the fundamental for falling in love at the beginning, now the spectrum conveys a sense of tragic permanence: all Penelope can do is utter Odysseus's name, slightly morphed in each incantation via varying IPA syllables. Though the audience may know the ending to Homer's poem, my piece ends on any day before Odysseus's return: the drama for me lies in the unknowing. Liminal processes in music intrigue me and so I have implemented various liminal techniques throughout the piece. At the beginning of the first movement, for example, the piano has a regular eight-beat-plus-one-eighth-note "pulse". That is to say I do not expect a pulse to be felt, per se. Instead of a perceived periodicity, I suspect a listener will hear long tones of indeterminate lengths. I use the term literally (as in subliminal) in the section "I wish I could remember". Penelope tries, but fails, to recollect a concert she and Odysseus attended before the war. In the music I quote pieces by the composers she is incorrectly recalling, thus externalizing her failing memory. One other liminal process I use often in Penelope is the process of timbral morphing. This term pertains to the process wherein one instrument seems to morph into another. In measure 25 of "Be still, my heart, my heart, be still" the double bass harmonic blends into a cello which then is blended by violin II and bass clarinet. This type of orchestration projects a state of intermediacy such that I suspect the listener may not accurately identify the instrument(s) being heard. This technique occurs in the last movement in measures 106-107 where the oboe subsumes Penelope, as if mistaking her identity for the woodwind. These liminal processes help contribute to the transition of Penelope's emotional state from gain to loss.

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Yang, Yoon Joo. "A Practical Approach to Donald Martino's Twelve-Tone Song Cycles: Three Songs and Two Rilke Songs, for Performance." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68066/.

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The performance of vocal works using the twelve-tone technique requires thorough study of complex rhythms, non-tonal melodies, non-traditional notations, and specific musical terms. They generally also require advanced and varied vocal techniques. Twelve-tone vocal works often contain unusual features vital to the composer's intention. One of the premiere twelve-tone composers in the United States, Donald Martino (1931-2005) composed only two solo vocal works using the twelve-tone technique: Three Songs (1955) and Two Rilke Songs (1961). He has explored innovative and progressive uses of the twelve-tone technique, and composed music with particular methods of his own, later used by other composers. Three Songs, his first twelve-tone work, and Two Rilke Songs, the only twelve-tone song cycle in his mature style, present comparable features in his use of the twelve-tone technique, text setting, and notations. The variety of ways in which Martino uses these features in the song cycles is discussed in the performance guide. The intention of the present study is to help performers, especially singers, understand Donald Martino's two twelve-tone song cycles, and to aid in the preparation of an excellent performance. The study includes a study of historical context, the poems, and Martino's compositional and aesthetic approaches to setting them. It also offers practical and systemized ways of analyzing and preparing Martino's songs for performance. It is hoped that the methods suggested herein will reduce a singer's difficulties and rehearsal time with the pianist. The present study will offer a valuable addition to the literature on the performance practice of twelve-tone vocal music, and provide insight and advice on how to practice and perform other non-tonal music. This method of study may be applied to other contemporary music. Doing so can in turn help develop a singer's skill in handling tonal and rhythmic difficulties of all kinds, including non-traditional notations.

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Yates, Paul Jerome Daniel. "The song cycle in nineteenth-century France and Debussy's Recueil Vasnier." Thesis, University of Cambridge, 2003. https://www.repository.cam.ac.uk/handle/1810/284015.

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Wunderlich, Kristen A. "Carl Sandburg's Timeless Prairie: Philip Wharton's Song Cycle, The Prairie Sings." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9011.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded on an unknown date, July 31, 2004, and Apr. 1, 2008. Includes bibliographical references (p. 44-46).

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Monsalve, Mejía Juana. "María Teresa Prieto's "Seis Melodías": An Analysis of Its Historical Background and Text-Music Relationship." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609097/.

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Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.

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Lee, Chia-wei. "A performance study of Gerald Finzi’s song cycle “before and after summer”." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1069190100.

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Lee, Chai-wei. "A performance study of Gerald Finzi's song cycle "Before and after summer"." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1069190100.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xi, 117 p.; also includes graphics. Includes bibliographical references. Available online via OhioLINK's ETD Center.

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Callahan, Moiya Lynn. "Killing the Angel in the House." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991306831.

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Kulma, David. "Emily: A Song Cycle For Soprano and Chamber Ensemble on Poems of Emily Dickinson." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291039230.

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Kwon, Hye-Ryung. ""The Rainy Fragrance Musical”: Wintter Watts’ Song Cycle Vignettes Of Italy With Poetry By Sara Teasdale." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103347/.

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Wintter Watts (1884-1962) was one of the most admired composers of American art song in the early twentieth century. The history of great singers who performed his songs at that time attests to the reputation of Watts as a song composer. Unfortunately the songs of Watts have become largely neglected by singers from later generations. The song cycle Vignettes of Italy (1919) for high voice is regarded by many as Watts♠ best-known composition. Vignettes of Italy was frequently performed by many famous singers in America in his day, but is little known in the current repertoire of American art song and rarely performed today. Vignettes of Italy is worthy of reintroduction to contemporary audiences and singers. This study explores the significant contributions Wintter Watts made to the body of American art song in the early twentieth century and presents a thorough investigation of Watts♠ compositional techniques of Sara Teasdale♠s texts in his song cycle Vignettes of Italy. These techniques include the use of carefully tailored rhythms, modulations, harmonic progressions, and accompaniment figures to give unique treatment to the musical setting of individual words, poetic ideas, and broader moods. I hope this research provides a foundation of understanding of this cycle, assists singers and pianists in presenting artistically coherent performances, and creates a fuller comprehension and appreciation of Watts songs.

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Regensburger, Tamara B. "Alan Louis Smith’s Vignettes: Ellis Island: The History, Evolution and Performance of a Modern American Song Cycle." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243873183.

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KHAYAM, HOOSHYAR. "THE RUBAIYAT OF OMAR KHAYYAM." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115752221.

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Abele, Catherine. "Barbara Pentland's Songs for Soprano: A Performer's Guide to Selected Major Works." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1446546475.

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James, Glenn. "A Place for Us : a song cycle for amplified pop tenor and chamber ensemble." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/55849.

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A Place for Us is a song cycle for amplified pop tenor and chamber ensemble (amplified string quintet, piano, electric bass, and drum set). It is approximately twenty minutes in duration and is divided into ten short sections. The text was written in collaboration with writer Tamara Chandon. It explores a love story using elements of an archetypal hero’s journey narrative. The music incorporates an eclectic array of styles and focuses on rhythmic attributes such as groove, syncopation, and backbeat.
Arts, Faculty of
Music, School of
Graduate

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Denham, Brittany Monique. "A Discussion of Robert Schumann's Compositional Process in the Song Cycle Frauenliebe und -leben." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5185.

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Robert Schumann's compositional work during 1840 stands out as an unexpected turn of events. With relatively no background composing songs, Schumann suddenly produced a plethora of widely successful and monetarily lucrative songs all within one year. Perhaps most fascinating was the amount of detail Schumann placed into each song. This detail can be seen in the sketches which include the composer's handwritten edits in both the piano and vocal scores. With a focus on Schumann's song cycle, Frauenliebe und -leben, the qualities of Schumann's songs and the compositional process used to create the songs' final versions are examined through this study. The origins of the poems and their author, Adelbert von Chamisso, are investigated in addition to the relationship created by Schumann between the poems and vocal lines. Main emphasis is placed on tracing the progression from the rough vocal lines found in the autograph score to the relatively finished copyist's score and finally to the final published version of the cycle.
ID: 031001338; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Title from PDF title page (viewed April 15, 2013).; Thesis (M.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 55).
M.A.
Masters
Music
Arts and Humanities
Music

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Jantsch, Nancy E. Jennings. "\"Briefly It Enters\" : a song cycle by William Bolcom from poems by Jane Kenyon." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486394475978614.

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Ringer, Rebecca Scharlene. "Beyond the "Year of Song": Text and Music in the Song Cycles of Robert Schumann after 1848." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3622.

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Roberts, Phillip Christopher. "Her em Iteru (On the Nile)." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491818188450595.

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Merritt, Karen Coker. "Beyond the Auvergne| A comprehensive guide to L'Arada, an original song cycle by Joseph Canteloube." Thesis, The Florida State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3612463.

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This treatise is meant to increase awareness of a lesser-known work by Joseph Canteloube entitled L'Arada, a cycle of six songs for voice and piano based on the sonnets of Occitan poet Antonin Perbosc. The cycle is unique in that it represents an original vocal composition by Canteloube, with freely composed music not based on pre-existing folk melodies. Background information to the cycle is provided through 1) biographical sketches of both the composer and the poet, 2) general discussions of the poetry collection and the cycle as a whole, and 3) an overview of Occitan pronunciation. The final section of the treatise addresses the performance of the songs more directly, providing word-for-word translations, IPA transcriptions, and musical commentary for each piece.

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Champagne, Mario Joseph Serge Gérard. "The French song cycle (1840-1924) with special emphasis on the works of Gabriel Fauré /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122196j.

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Zavracky, Gregory Paul. "Libby Larsen's My Antonia: the song cycle and the tonal landscape of the American prairie." Thesis, Boston University, 2014. https://hdl.handle.net/2144/12254.

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Thesis (D.M.A.)--Boston University
Libby Larsen is one of the most prolific composers living today. Her music is frequently performed, and her art songs in particular have found a place in the American canon. This paper seeks to provide a detailed analysis of Libby Larsen's 2000 song cycle, My Antonia. Each song is discussed at length, and harmonic, formal, motivic, and textual elements as well as other noteworthy components are detailed. I also elaborate the ways in which Larsen evokes the prairie landscape through her music. The vastness of the prairie, its late- nineteenth-century settlers and the emotional journey of Jim, the narrator, are all captured in the song cycle, My Antonia. My own analysis of My Antonia is the primary source of material for the paper, supplemented by information from related scholarly writings. Quotes from my December 18th, 2013 interview with Libby Larsen are interspersed throughout the paper, and the interview is included in full as an appendix. Also included in the body of the paper are biographical information on the Minnesotan composer's formative years and an examination of her general compositional style. I discuss the physical landscape of the bygone prairie of Willa Cather's youth, and will provide a synopsis of her 1918 novel, My Antonia. I examine Larsen's selection of text from the Cather novel and her construction of poems for each song.

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Madar, Armaan. "Kaija Saariaho’s Quatre Instants from a pianist’s point of view : an interpretation of the song cycle." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3630.

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The purpose of this study is to examine Kaija Saariaho's song cycle Quatre Instants for soprano and piano and to present a possible interpretation of it. I have made an analysis of the song cycle, which focuses mainly on the relation between the song text and the piano part. This has led to forming a detailed interpretation of the song cycle. The study contains also Saariaho's biography in order to support the analysis with background information. Both the background information and the analysis have immensely influenced upon my interpretation of the song cycle.

The sounding part of the work consists of the following recording: ljud. The Corona virus situation spring semester 2020 has caused limitations in the recording possibilities. The recording is archived and may be supplemented.

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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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Regensburger, Tamara Brooke. "Alan Louis Smith's Vignettes: Ellis Island the history, evolution and performance of a modern American song cycle /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243873183.

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Mittelstadt, Marcia. "An analytical study of the song cycle "Poème de l'amour et de la mer" by Ernest Chausson /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371038740.

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Eriksson, Matilda. "Medvetenhet och röda trådar : Om att skapa ett konceptuellt album." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74030.

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I denna uppsats undersöks hur ett konceptuellt album skrivs samt produceras med analyser av tre existerande konceptuella album i pop/indiepoprock genre som underlag. I arbetet utforskas hur specifika konceptuella parametrar så som text, struktur samt sound kan appliceras på det egna musikskapandet samt hur det påverkar arbetsprocessen. Det undersöks vilka svårigheter som uppkommer med att arbeta efter specifika konceptuella parametrar samt hur väl låtarna fungerar både i och utanför det konceptuella upplägget. Resultatet blir sju egenskriva låtar till ett konceptuellt album och i diskussionen analyseras konceptualitet som begrepp.

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Beteta, Xavier. "Compositional Techniques in Rodrigo Asturias’s “El Banquete De Las Nubes”." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148304483.

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Dixon, Wendy Patricia. "Singing the Notation: An autoethnography of a professional singer in a performer-composer collaboration during the creation of a new song-cycle." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29559.

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This dissertation with accompanying Creative Works lecture documents a collaboration between a professional singer (myself), a professional pianist, and a composer as they create a song-cycle together. It is an autoethnography of my journey as I explore the processes of choosing lyrics, first reads of the songs, rehearsals with the composer present, rehearsals without the composer present, two performances and the recording sessions resulting in a CD of the cycle. The roles of notation, live performance, and recordings in the realisation of a score are explored. I document the way I learn a new score and make technical choices when singing sections of music that are challenging for my voice type. The study also investigates the way the composer began to write specifically for the two performers after hearing the live performance of the first four songs in the cycle. The collaboration between the performers is investigated through issues of vulnerability, trust, communication, and accountability. The research indicates that collaborations between performers and composers result in musical scores that are clear in terms of a composer’s intentions and can also reflect the abilities of the performers.

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Beasley, Rebecca Choate. "The influence of Sister Helen Prejean on the life and work of Jake Heggie as seen in the song cycle The Deepest Desire: Four Meditations on Love." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9795.

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Jewitt, Clement. "Aspects of the night sea crossing : a project to create an extended song cycle : contextual & analytical commentary." Thesis, Birmingham City University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428308.

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Claasen, Clinton Jared. "Die stil avontuur an evaluation of Hendrik Hofmeyr's song-cycle with an emphasis on the poetry of Elisabeth Eybers." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/10233.

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Forty-six opuses in Hofmeyr's oeuvre are either inspired by or set to Afrikaans texts. This is indicative of his love for the language and of the culture in which he feels most comfortable. Of these works, the Afrikaans song is the most predominant genre which spans his entire compositional career. However, only one cycle, Alleenstryd, has been the subject of extensive academic evaluation (Roos, 2000; May, 2003; Cupido, 2010). For the purposes of this dissertation, I have decided to investigate Die stil avontuur, a cycle based on seven poems by Elisabeth Eybers. Die stil avontuur, commissioned by Lina Spies in celebration of Eybers' ninetieth birthday traces, like Robert Schumann's Frauenlieben und -leben, the life of a woman from the first meeting of her beloved to his death. My motivation for selecting this cycle as the subject for my study, besides considering it a high-point in both Hofmeyr's oeuvre and South African song, is one of identifying a number of correlations between Eybers and Hofmeyr. Both being recipients of international awards for their respective arts, they also both left their birth country in self-imposed exile. Another aspect common to both artists is their struggle to reconcile aspects of their upbringing with their arts.

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Lassetter, Jacob Garland. "Dominick Argento’s The Andrée Expedition: A Performer’s Musical and Dramatic Analysis." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211914343.

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Scangas, Alexis. "Forget the Familiar: The Feminist Voice in Contemporary Dramatic Song." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522672693855537.

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Jilek, Dean. "The Re-Unification of Dr. Edwin Fissinger's Prairie Scenes: A Choral Cycle." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862777/.

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Edwin Fissinger (1920-1990) was a conductor and prolific choral composer. His compositional techniques, settings of text, jazz-influenced harmonies, and melodic propulsion fulfill an important role in each of his compositions. In the eight choral cycles he composed, Fissinger unified each cycle through thematic and textual elements. Although this resulted in a logical progression of poetry and music, Fissinger's final choral cycle, Prairie Scenes, was not published as he intended. Rather, individual selections from the cycle were published by two different publishing houses, out of sequence, and sixteen years apart. Consequently, the eight pieces are not currently performed together. Today's choral conductors, singers, and audience do not fully appreciate the value of this choral cycle and cannot understand its intended context. It is necessary to provide an in-depth investigation of the original eight-piece work Prairie Scenes: A Choral Cycle to place the appropriate organizational set together. This study illustrates the importance of the unification of Fissinger's Prairie Scenes: A Choral Cycle through a study of the poetry, the thematic material as it relates to the natural elements of the prairies, the manuscripts, and interviews with Fissinger's publishers and colleagues. An examination of Fissinger's compositional technique to convey the meaning of the text reveals a clear link between Prairie Scenes and the North Dakota prairies and its seasons. A description of the development of the choral cycle throughout music history and a biography of Edwin Fissinger and his compositional style are also included.

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Rike, Gregory Bennett. "Every night and every morn a performance study of the song cycle by Jeffrey Wood from the poetry of William Blake /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1096307147.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains x, 76 p.; also includes graphics. Includes bibliographical references (p. 75-76). Includes bibliographical references.

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Price, Lee Scott. "Ocean of Forms: for Soprano and Computer." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115141/.

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Ocean of Forms is a cycle of five songs for solo soprano voice and electronic/computer music accompaniment on poems by noted Bengali poet, musician, philosopher, and author Rabindranath Tagore. This work approaches the song cycle as a vehicle for expressing and highlighting the poet's words. Word and syllabic stress, text painting, melodic development, and formal structure all function in relation to the text and its meaning. the replacement of the traditional piano accompaniment with electronic accompaniment provides further possibilities for new timbral structures and transformations, expressive microtonal intonation, algorithmic and aleatoric formal structures, acousmatic and spatialized sound, and a broad sonic palette. This work strives to provide a more fully developed expression of the text as afforded by these expanded musical means. the critical essay primarily explores the interaction between text and music in the work. the first chapter explores the historical precedents for the genre of the song cycle and other texted music as well as specific influences on the work. the following chapters explore the connections between the text and the vocal line and electronic/computer music, respectively. the final chapter deals with the formal structure of the work, especially the justly-tuned harmonic scheme and its relation to the text.

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CAPALDO, JENNIFER REBECCA. "ELIZABETH VERCOE: Composing Her Story." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1210798047.

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Dissertations / Theses on the topic 'Song cycle'

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