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Dissertations / Theses on the topic 'Song cycles'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2024

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1

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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2

Court, Sarah Kathleen Mary. "Death and Transformation in Romantic Song Cycles: Journeys in Interpretation." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365450.

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The Romantic period gave rise to the genre of the song cycle – a collection of songs grouped by poetic theme or narrative arc - through which composers align their musical inspiration with the works of poets and delve into the human experience. Profound themes, such as death and transformation, appear often in song cycle works as the genre provides a vehicle within which they are carefully examined and expanded upon. The form of the song cycle gives performers an opportunity to explore a long narrative, a particular set of emotions, a philosophical perspective, or a defining set of circumstances in more depth than is possible in individual songs. The question of how a performer approaches this absorbing process, lives and grows within the musical and poetic world each cycle offers, and prepares to perform the resulting interpretation is not often documented, and is the focus of this research. I have chosen three case study programs of Romantic song cycles through which to examine my process as a singer preparing and performing works that focus on the themes of death and transformation – Schubert’s Winterreise; Mahler’s Kindertotenlieder and Mussorgsky’s Songs and Dances of Death; Butterworth’s Bredon Hill and A Shropshire Lad and Vaughan-Williams’ Songs of Travel. I draw on a number of methodologies to do justice to the dynamic and evolving nature of the art of performance.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
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3

van, Rij Inge. "The 'Liedersträuße' of Johannes Brahms : song cycles, lyric cycles, multi-pieces or random collections?" Thesis, University of Cambridge, 2002. https://www.repository.cam.ac.uk/handle/1810/251822.

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4

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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5

Holmquest, Heather J. 1983. "Compositional Style in the Song Cycles of Jules Massenet." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10079.

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xiv, 111 p. : music. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
As a prolific song composer whose works span the development of the French song cycle, Massenet is worthy of close examination. To date, analyses of his songs have included a cursory glance by Frits Noske and a review of thematic relationships by Mario Champagne. These analyses leave many of Massenet's compositions untouched and exclude many musical features of merit. This thesis offers a thorough evaluation of Massenet's songs with the aim of tracing the development of his style as an outgrowth of German influence. I focus on three works from the beginning, middle, and end of Massenet's career--Poeme d'avril, Poeme d'amour, and Expressions lyriques--that show the progression of Massenet's style and establish his place as a bridge between the great lieder composers of the early nineteenth century and the great melodie composers of the early twentieth century.
Committee in charge: Dr. Stephen Rodgers, chair; Dr. Jack Boss; Prof. Laura Wayte

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6

Park, Woong-Cheol. "The performance of Fauré's La Bonne Chanson, opus 61, in practice /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11266.

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7

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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8

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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9

Li, Chol-Won. "Essays on the neo-Schumpeterian growth theory : heterogenous R & D, cycles and inequality." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270431.

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10

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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11

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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12

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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13

Forbes, Anne-Marie H., and Johann Sebastian 1685-1750 Vergnügte Ruh beliebte Seelenlust Vergnügte Ruh beliebte Seelenlust Bach. "A master's recital and analytical programme notes." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9839.

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Title from accompanying document.
A.M. Forbes, soprano ; J. Anschutz, piano, organ ; K. Irwin, oboe ; D. Bakke, T. McClure, violins ; E. Takehana, viola ; V. Pugh, violoncello ; J. Langenkamp, tenor ; S. Rushing, narrator.
Digitized by Kansas Correctional Industries

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14

Brown, Julie. "Schoenberg's 'Das Buch Der Hangenden Garten' : analytical, cultural and ideological perspectives." Thesis, King's College London (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307704.

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15

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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16

Prins, Moeller Kimberly Joy. "New Voices: A Context For And Sampling Of Song Cycles By Vancouver Composers Since 2005." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/347054.

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In June 2013 the Vancouver International Song Institute (VISI) hosted its inaugural Contemporary Performance Studies program. The ten-day event offered student and emerging artist singers and pianists the opportunity to study and perform contemporary works both of their own selection and assigned by the program directors. Among the pieces assigned were works by Vancouver composers, both established professionals and rising talents, that showcased astonishing variety, depth, and excellence in their styles and artistry. The composers at VISI represented the latest generation in a long tradition of art song composition in Canada, but outside of the country's borders, Canada's composers and works are largely unknown. Lack of presence in the international musical canon has unfortunately been a historical issue for Canada. However, as compositional trends have shifted toward neo-tonality, art song in Canada has experienced significant growth in production and performance, particularly in Vancouver. Aided by organizations such as VISI, Canadian art song has been primed to take a prominent position on the international stage.

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17

Walsh, Brian M. "Structure, function, and process in the early song cycles and extended songs of the Canadian rock group Rush." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1283336997.

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18

Walsh, Brian Michael. "Structure, function, and process in the early song cycles and extended songs of the Canadian rock group Rush /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486546889380388.

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19

Geihsler-Chittom, Rebecca Maire. "Lori Laitman : a pedagogical study of selected song cycles for the soprano voice /." Full text available from ProQuest UM Digital Dissertations, 2008. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1850417141&SrchMode=1&sid=3&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1277223953&clientId=22256.

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Thesis (D.A.)--University of Mississippi, 2008.
Typescript. Vita. "June 2008." Major Professor: Bradley Robinson Includes bibliographical references (leaves 127-132). Also available online via ProQuest to authorized users.

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20

Heerman, Diane L., and Joseph 1732-1809 Songs violin continuo acc Selections Haydn. "A master's recital and program notes." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9847.

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21

Dapcic, Samantha. "John La Montaine's "Songs of the Rose of Sharon" and "Fragments from the Song of Songs": A Socio-Historical Analysis and Performer's Guide." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538657/.

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The purpose of this research is to examine John La Montaine's only two song cycles for soprano and orchestra, Songs of the Rose of Sharon, opus 6 (1947) and Fragments from the Song of Songs, opus 29 (1959). In this investigation-the first ever specific to these works-I examine the works and cultural context in which they were created. I then evaluate the reasonable possibility that La Montaine used his public platform as a composer and performer to subtly celebrate taboo themes of feminism, sexuality, and blackness while shining a light on human injustice. Through close examination of social and historical context, I argue two points. Firstly, Rose of Sharon and Fragments are landmark American works. They are anomalies in classical music history in that a white male heralds texts about a black woman in an unlikely time in American history, thus arguably becoming an unlikely part of the evolution of African-American women in artistic endeavors. Secondly, in the performance guide, I advocate that these works would readily adapt to a staged performance. I discuss how La Montaine's musical settings illustrate the inherent drama of the text, provide a context for interpreting the protagonist in Rose of Sharon and Fragments, and present an interpretation of how these works could be staged. The ultimate goal of this research is to bring these intricately crafted masterpieces to the attention of singers and voice teachers so that they may assume their rightful place in the repertoire.

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22

Adams, William Mark. "Ralph Vaughan Williams' Songs of travel : an historical, theoretical, and performance practice investigation and analysis /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Thesis (D.M.A.)--University of Texas at Austin, 1999.
Vita. Discography: leaf 129. Includes bibliographical references (leaves 127-128). Available also in a digital version from Dissertation Abstracts.

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23

Sannerud, Lawrence D. "Three song cycles of Jacques Leguerney: Examples of his significantcontribution to the French melodie tradition." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/280744.

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This study focuses upon three song cycles by Jacques Leguerney (1906-1997), whose importance as a composer and a contributor to the French melodie tradition has gained increasing recognition. The three cycles to be considered, La Solitude, La Nuit, and Le Carnaval come from his maturity and exemplify his mastery as a composer. The study highlights important influences that were present in his musical development and his musical associations. The study compares and contrasts Leguerney's approach to text-setting in these song cycles with comparable melodies written by French contemporaries. Moreover, it considers topics such as vocal range, passaggi, and vowel setting, and illuminates Leguerney's remarkable ability to compose for the baritone voice in his songs composed for that voice type.

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24

Nkuna, Musa. "A portfolio of original compositions with a commentary." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1018689.

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25

Zurflieh, Sharon E. (Sharon Elizabeth). "Gustav Mahler's use and cyclic integration of motivic and thematic quotations." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc798474/.

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All of Mahler's works may be divided into four distinct chronological groups, referred to as "symphonic cycles." Motives and themes from the songs within each symphonic cycle were quoted in symphonies in the same cycle. This system of self reference was unique to Mahler, although earlier composers such as Schubert and Wagner set precedents for some of the techniques used by Mahler. The quotations in the early periods appeared only on the surface and did not blend well with their surroundings, but as time progressed Mahler developed the ability to combine the seemingly incompatible elements more smoothly. Mahler's early fascination with distant sounds was also a factor in his use of quotations. The appendix contains a catalog of 100 quotations.

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26

Woolston, Rachelle M. "The Voice of Children in Art Song: A Study of Six Cycles Involving a Child's Perspective." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1353088912.

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27

Donkin, Deborah Jean. "A study of Oliver Messiaen's song-cycles Poèms pour mi, Chants de terre et de ciel, and Harawi." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002300.

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This thesis ventures into the relatively neglected world of twentieth century vocal music, via the three song cycles of Oliver Messiaen. The song cycle is a comparatively young genre, generally dated from Beethoven's An die ferne Geliebte or by some, even later to Schubert's Die schone Miillerin. Nevertheless, considerable changes have taken place in the 160 years which separate Messiaen's cycles from those of the 'pioneers' mentioned above. A fuller appreciation of twentieth century cycles is facilitated by observing this evolutionary process and placing the works within an historical and cultural perspective. Such an introduction is provided in part one of this thesis, along with relevant details on the life and interests of Messiaen. The latter information gives insight into the compositions themselves and may satisfy the reader's curiosity on the origin of some of the more unexpected techniques or ideas Messiaen llses. Before embarking on a study of the cycles, it is necessary to look at the highly individual musical language of the composer. Section two undertakes this task in some depth, wherever possible relating the explanations directly to the songs which follow. In order to clarify the text and to simplify the exercise for the reader, numerous musical examples have been used. This contributes to the apparent bulk of this section. The main emphasis of the thesis is the detailed study of the 20 songs contained in Poemes pour Mi, Chants de Terre et de Cief and Harawi. The third section of the thesis deals with this material thoroughly and systematically, dividing it up into musical and extra-musical aspects. The texts are considered in terms of Surrealist, religious, Nature, numerological and, in the case of Harawi, mythological and Peruvian folk symbolism. The relationship of text to music is studied and evelopments highlighted. Musically, the study is further sub-divided into piano part and vocal part. In each case, an extensive exploration of the techniques required of the performer is presented. This makes possible the subsequent categorisation of the songs on the basis of similarities in the musical means. Conclusions reached show a progressive development through the three song cycles in the composer's handling of the text, his treatment of the voice, his use of the piano and his expansion of the voice-piano relationship. This body of solo vocal literature emerges as typical of Oliver Messiaen's compositional style in general and therefore properly representative of the meticulous craftsmanship with which his works are constructed. The detailed analysis of all aspects of the songs contributes original material to scholarship on Messiaen and on song cycles in the twentieth century.

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Bergan, Caroline Patricia. "EDVARD GRIEGRecognizing the Importance of the Nationalist Composer on the International StageIPA Transliteration of Three Song Cycles." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1590059725731227.

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29

Weston, Craig. "Inversion, subversion, and metaphor : music and text in Elliott Carter's A mirror on which to dwell /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/11441.

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30

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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31

Berry, Jane M. "Reinterpreting Schumann: A Study of Large-Scale Structural and Atmospheric Associations in Schumann's 'Frauenliebe und -leben' and 'Dichterliebe' Song Cycles." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20102.

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The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.

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Leslie, Shayne. "Words and Music: using a chosen set of criteria to inform a creative response in composing two contrasting song cycles." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13678.

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Since song cycles entered the lexicography of European music in the 1800s, it can be argued that composers have lacked a clear set of ‘rules’ that govern the musical elements of composing song cycles. This has led to some confusion as to what are the most important compositional features to use when composing a song cycle; for example, the premise that words may be more important than music. While there are many analyses of song cycles in literature resulting in some consensus as to what compositional elements contribute to a composition being identified as a ‘song cycle’, previous work has failed to directly apply the findings to the actual art of composition from a composer’s point of view. The first objective of this study is to define a set of criteria that will inform my compositional process based on previous research of the song cycle in the European tradition. Broadly speaking, these criteria are textual, musical, timbral and hermeneutic elements. The second objective is to explore the application of the criteria as a creative response through two compositions. I then analyse and discuss the compositional success of the portfolio using the criteria. The study found that understanding the history of the song cycle in the European tradition greatly assists in defining one’s own criteria in crafting a song cycle. Approaching song cycles with predetermined and informed criteria enhances compositional approaches allowing the composition of song cycles to be musically unified.

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33

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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34

Cyphert, Matthew Derek. "An exploration of song cycles for the baritone voice: "An die ferne Geliebte" (1816) by Ludwig van Beethoven, "Sei Romanze" (1838) by Giuseppe Verdi, "Don Quichotte à Dulcinée" (1932-1933) by Maurice Ravel, and "Let Us Garlands Bring" (1938-1942) by Gerald Finzi." Kansas State University, 2017. http://hdl.handle.net/2097/35513.

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Master of Music
School of Music, Theatre, and Dance
Reginald L. Pittman
This Master’s Report is an examination of four vocal song cycles for the baritone voice. Song cycles researched, interpreted, and performed include An die ferne Geliebte (1816) by Ludwig van Beethoven, Sei Romanze (1838) by Giuseppe Verdi, Don Quichotte à Dulcinée (1932-1933) by Maurice Ravel, and Let Us Garlands Bring (1938-1942) by Gerald Finzi. In this report you will find information on the history of vocal song cycles, biographical information about composers and poets/lyricists, compositional analysis, historical breakdowns of the musical periods, musical and poetic interpretations, original texts and English translations, pedagogical and performance practice insights, and never before published transpositions of “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” and “Nell’orror di note oscura” from Giuseppe Verdi’s Sei Romanze (1838). Songs in this report are: “Auf dem Hügel sitz ich spähend,” “Wo die Berge so blau,” “Leichte Segler in den Höhen,” “Diese Wolken in den Höhen,” “Es kehret der Maien, es blühet die Au,” and “Nimm sie hin den diese Lieder” from An die ferne Geliebte by Ludwig an Beethoven. “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” “In solitaria stanza,” and “Nell’orror di note oscura” from Sei Romanze by Giuseppe Verdi. “Chanson romanesque,” “Chanson épique,” and “Chanson à boire” from Don Quichotte à Dulcinée by Maurice Ravel. “Come away, come away, death,” “Who is Silvia?,” “Fear no more the heat o’ the sun,” “O Mistress Mine,” and “It was a lover and his lass” from Let Us Garlands Bring by Gerald Finzi. The graduate recital was presented in partial fulfillment of the requirements for the Master of Music degree in vocal performance on April 9th, 2017 in All Faiths Chapel on the campus of Kansas State University. The recital featured the talents of baritone Matthew D. Cyphert and pianist Mitchell S. Jerko.

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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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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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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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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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Kaddar, Tagrid. "MiR-16 : ses fonctions et son implication dans les hémopathies malignes." Lyon 1, 2008. http://www.theses.fr/2008LYO10274.

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Les microARN (miARN), produits des gènes mir, constituent une classe de petits ARN non codant de 18-24nt présents dans la plupart des espèces vivantes. Ils sont impliqués dans le contrôle postranscriptionnel de l’expression génique en intervenant sur la stabilité des ARNm ou en agissant comme des répresseurs de la traduction. De nombreuses études ont montré que les miARN agissaient sur des ARNm codant pour des protéines impliquées dans le contrôle du développement ou d’autres fonctions biologiques importantes chez les plantes et les animaux. Des données de la littérature suggèrent également que les gènes mir sont des gènes cibles du processus tumoral, en particulier dans le modèle de la leucémie lymphoïde chronique à cellules B (LLC-B) où l’on observe fréquemment une délétion des gènes miR-15 et miR-16. Afin de préciser le rôle des miARN dans la tumorogenèse lymphoïde, nous avons analysé l’expression de miR-16 dans une série de la leucémie aiguë lymphoïde de l’enfant. Nous avons montré une valeur pronostique de miR-16 dans cette pathologie avec un meilleur pronostic associé aux faibles niveaux de miR-16. Nous avons également développé une approche qui nous a permis d’identifier deux cibles potentielles de miR-16, les ARNm codant pour les protéines caprine-1 et HMGA1 qui sont impliquées dans l’activation cellulaire et l’architecture chromatinienne, respectivement. En outre, nous avons confirmé l’inhibition de l’expression de la cycline E par miR-16 et nous avons étudié la diminution de la stabilité de son ARNm par la surexpression de miR-16 dans la lignée cellulaire HeLa. En conclusion, ce travail apporte quelques éléments qui devraient permettre une meilleure compréhension du rôle joué par les miARN dans la cellule normale et dans la physiopathologie des tumeurs lymphoïdes
The microARN (miRNAs), products of genes mir constitute a class of small non-coding RNA of 18-24nt present in most live species. They are involved in post-transcriptional control of gene expression by interfering with the stability of mRNA or acting as translational repressors. Numerous studies have shown that miRNAs acting on mRNA coding for proteins involved in controlling the development and other important biological functions in plants and animals. Data from the literature suggest that mir genes are target genes of the tumoral process, particularly in the model of B cells chronic lymphocytic leukemia (B-CLL) where a deletion of genes miR-15 and miR-16 is frequent. To clarify the role of miRNAs in lymphoid tumorogenesis, we analyzed the expression of miR-16 in a series of childhood acute lymphoblastic leukemia. We showed a prognostic value of miR-16 in this pathology with better prognosis at low levels of miR-16. We have also developed an approach that has enabled us to identified two potential targets of miR-16, the mRNA coding for caprin-1 and HMGA1 proteins which are involved in cell activation and chromatin architecture, respectively. In addition, we confirmed the inhibition of cyclin E by miR-16 epression and we studied the diminution of its mRNA half-life by miR-16 overexpression in HeLa cell line. In conclusion, this work enabled us to introduce some elements that should offer a better understanding of the role of miRNAs in normal cell and in the physiopathology of lymphoid tumors

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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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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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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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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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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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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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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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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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