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Dissertations / Theses on the topic 'Soprano'

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Published: 4 June 2021

Last updated: 25 April 2022

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1

Bonneau, Paul G. "Latin Mass for Choir, Orchestra, Soprano and Mezzo-Soprano Soloists." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/bonneau%5Fpaul/index.htm.

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2

Jacob, Lindsey. "Thoughts for soprano and orchestra." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367943723.

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3

Frehner, Paul (Paul Anton). "Souvenirs du vent : pour soprano et orchestre de chambre = for soprano and chamber for orchestra." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28027.

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Souvenirs du vent is a composition for soprano and chamber orchestra with a duration of approximately 16'.30". The piece consists of three movements, a prelude, two interludes and a postlude. The poems set in the three movements were chosen for their similar subject matter, the wind. This common subject is emphasized by a music in which both the large-scale and small-scale formal divisions are blurred through structural counterpoint. The poets of the three poems are all from the Montreal area; they are: Emile Nelligan, Claude Brouille and Remi-Paul Forgues.

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4

Bizzarri, Pietro. "Cantata »Che ti dirò Regina«." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-70009.

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Am 8. Dezember 1747 feierte die sächsische Kurfürstin und polnische Königin Maria Josepha (1699–1757) ihren 48. Geburtstag. Zu diesem Anlass verfasste ihre Schwiegertochter Maria Antonia Walpurgis den Text der Kantate »Che ti dirò Regina«. Die sächsische Kurprinzessin hatte den ältesten Sohn des Herrscherpaares, Friedrich Christian (1722–1763), im gleichen Jahr geheiratet und war im Juni nach Dresden gekommen.

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5

Naumann, Johann Gottlieb. "Par che di giubbilo." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-70131.

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Johann Gottlieb Naumann ist einer der wenigen Hofkapellmeister am kurfürstlich-sächsischen Hof, der auch aus Dresden stammt. Er wurde am 17. April 1741 in Blasewitz bei Dresden geboren. Nach einer entbehrungsreichen Jugend und frühzeitigen musikalischen Ausbildung in Italien übertrug die hochmusikalische Kurfürsten-Witwe Maria Antonia Walpurgis bereits dem 23jährigen Naumann das verantwortungsvolle Amt als Kirchen-Compositeur in einer desolaten Lage der musikalischen höfischen Kultur. Naumann hat den Text – die Arie des Arpago aus Metastasios »Ciro riconosciuto«, Wien 1736 – nochmals vertont. So sind mehrere Abschriften eines Duettes für zwei Soprane und Basso continuo in Venedig und Padua überliefert. Eine Datierung des Werkes ist ungewiss, es gibt aber zwei indirekte Hinweise auf eine mögliche Entstehungszeit. 1778 erschien die Canzonette »Ecco quel fiero istante« nach Metastasio für zwei Violinen, Sopran und Basso1, neben dem vorliegenden Werk die einzige Canzonette mit Begleitung mehrere Instrumente. Weitere Gesänge auf italienische Texte für Solostimme und ausschließlicher Klavierbegleitung gehen auf das Jahr 1769 zurück. Naumann war mit Johann Adolf Faustinus Weiss, dem Sohn von Silvius Leopold Weiss, befreundet, der seit 1763 bis zu seinem Tod 1814 als Kammerlautenist an der Dresdner Hofkapelle verpflichtet war. Er kann als Interpret infrage kommen.

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6

Naumann, Johann Gottlieb. "Par che di giubbilo." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-149649.

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Johann Gottlieb Naumann ist einer der wenigen Hofkapellmeister am kurfürstlich-sächsischen Hof, der auch aus Dresden stammt. Er wurde am 17. April 1741 in Blasewitz bei Dresden geboren. Nach einer entbehrungsreichen Jugend und frühzeitigen musikalischen Ausbildung in Italien übertrug die hochmusikalische Kurfürsten-Witwe Maria Antonia Walpurgis bereits dem 23jährigen Naumann das verantwortungsvolle Amt als Kirchen-Compositeur in einer desolaten Lage der musikalischen höfischen Kultur. Naumann hat den Text – die Arie des Arpago aus Metastasios »Ciro riconosciuto«, Wien 1736 – nochmals vertont. So sind mehrere Abschriften eines Duettes für zwei Soprane und Basso continuo in Venedig und Padua überliefert. Eine Datierung des Werkes ist ungewiss, es gibt aber zwei indirekte Hinweise auf eine mögliche Entstehungszeit. 1778 erschien die Canzonette »Ecco quel fiero istante« nach Metastasio für zwei Violinen, Sopran und Basso1, neben dem vorliegenden Werk die einzige Canzonette mit Begleitung mehrere Instrumente. Weitere Gesänge auf italienische Texte für Solostimme und ausschließlicher Klavierbegleitung gehen auf das Jahr 1769 zurück. Naumann war mit Johann Adolf Faustinus Weiss, dem Sohn von Silvius Leopold Weiss, befreundet, der seit 1763 bis zu seinem Tod 1814 als Kammerlautenist an der Dresdner Hofkapelle verpflichtet war. Er kann als Interpret infrage kommen.

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7

Bizzarri, Pietro. "Cantata »Che ti dirò Regina«." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-149856.

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Am 8. Dezember 1747 feierte die sächsische Kurfürstin und polnische Königin Maria Josepha (1699–1757) ihren 48. Geburtstag. Zu diesem Anlass verfasste ihre Schwiegertochter Maria Antonia Walpurgis den Text der Kantate »Che ti dirò Regina«. Die sächsische Kurprinzessin hatte den ältesten Sohn des Herrscherpaares, Friedrich Christian (1722–1763), im gleichen Jahr geheiratet und war im Juni nach Dresden gekommen.

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8

Rodina, Elizabeth Ann. "An examination of works for soprano." Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/754.

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9

Saenz, Karlie E. "Karlie Saenz, mezzo-soprano senior recital." Click here to view, 2010. http://digitalcommons.calpoly.edu/musp/2/.

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Thesis (B.A.)--California Polytechnic State University, 2010.
Project advisors: Tom Davies. Title from PDF title page; viewed on Mar. 24, 2010. Includes bibliographical references. Also available on microfiche.

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10

Shibahara, Mai. "An examination of works for soprano." Manhattan, Kan. : Kansas State University, 2009. http://hdl.handle.net/2097/1409.

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11

T, Gougler Kylie. "Czech arias for soprano: an anthology." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6306.

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In the United States, Italian, French, German, and English language operas are most often performed, both professionally and in collegiate settings; however, operas by Czech composers such as Leoš Janáček’s Jenůfa, Věc Makropulos (The Makropulos Case), Z mrtvého domu (From the House of the Dead), Bedřich Smetana’s Hubička (The Kiss), Prodaná nevěsta (The Bartered Bride), and Antonín Dvořák’s Rusalka have been performed in major American opera houses over the course of the last decade. The Metropolitan Opera, San Francisco Opera, and Lyric Opera of Chicago, the three largest companies in the country, have mounted Czech productions in previous seasons. Regional companies have delved into this new territory with positive outcomes, such as when the Opera Theatre of St. Louis staged Smetana’s The Kiss in 2013. The Juilliard Opera Center, Seattle Opera, Dallas Opera, Opera Santa Barbara, Arizona Opera, and many others have recently produced Czech operas, as well. Czech opera receives little attention in collegiate voice programs, whether it be the study of the repertoire, the language, or its historical context. Since emphasis is largely placed on English, French, German, and Italian opera, it is reasonable that many voice teachers and vocal coaches may not have expertise in either the repertoire or the language, and as a result, so few selections are performed by young singers, much to their detriment. This dissertation serves as a resource for singers, voice teachers, vocal coaches, and collaborative artists who wish to immerse themselves in Czech operatic repertoire for the soprano. Arias for this anthology have been chosen based on pedagogical considerations within the soprano Fach. Additional elements include brief biographical information about selected composers; synopses of the operas; a guide to explaining the basics of Czech diction (as well as its similarities and differences with English, German, French, Italian, and Russian), International Phonetic Alphabet (IPA) transcriptions of each aria, as well as literal and poetic translations of the text.

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12

Hasse, Johann Adolf. "Cantata »Che ti dirò Regina«." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-70015.

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Am 8. Dezember 1747 feierte die sächsische Kurfürstin und polnische Königin Maria Josepha (1699–1757) ihren 48. Geburtstag. Zu diesem Anlass verfasste ihre Schwiegertochter Maria Antonia Walpurgis den Text der Kantate »Che ti dirò Regina«. Die sächsische Kurprinzessin hatte den ältesten Sohn des Herrscherpaares, Friedrich Christian (1722–1763), im gleichen Jahr geheiratet und war im Juni nach Dresden gekommen.

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13

Hasse, Johann Adolf. "Cantata »Che ti dirò Regina«." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-149864.

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Am 8. Dezember 1747 feierte die sächsische Kurfürstin und polnische Königin Maria Josepha (1699–1757) ihren 48. Geburtstag. Zu diesem Anlass verfasste ihre Schwiegertochter Maria Antonia Walpurgis den Text der Kantate »Che ti dirò Regina«. Die sächsische Kurprinzessin hatte den ältesten Sohn des Herrscherpaares, Friedrich Christian (1722–1763), im gleichen Jahr geheiratet und war im Juni nach Dresden gekommen.

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14

Stanbridge, Bryan Scott. "MAGNIFICAT, FOR MEZZO-SOPRANO AND CHAMBER ENSEMBLE." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1150985354.

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15

Clay, William Rudy Paul. "Incarnation for soprano duo and chamber ensemble /." Diss., UMK access, 2008.

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Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.
"A thesis in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

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16

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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17

Neikirk, Anne L. "SYMPHONIC PRAYERS FOR ORCHESTRA AND SOPRANO SOLOIST." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252939.

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Music Composition
D.M.A.
Symphonic Prayers is a work for orchestra and soprano soloist in four movements. The work uses four poems from Rainer Maria Rilke's collection Das Stundenbuch (The Book of Hours), written between 1895 and 1903. Rilke was a Bohemian poet, mystic, traveler, and lover of art and nature. He narrates The Book of Hours through a fictional Russian monk who converses with God and reflects upon the nature of the world through the poetry. Rilke's poems delicately weave together the joys and struggles of a faith journey and of finding one's place in the world and in eternity. Equally striking is the beauty with which he utilizes the German language. There is an irresistible rhythm and nuance to his words. The four poems I chose each reflect a different category of prayer derived from the Christian faith tradition. A common prayer model utilized in the Protestant church is abbreviated by the acronym "ACTS," which stands for adoration, confession, thanksgiving and supplication. The ACTS prayers guide the worshipper through four methods of praying: expressing adoration for God, confessing sins and shortcomings, showing gratitude and thanksgiving, and asking for help for oneself and others. I modeled each movement of Symphonic Prayers after these categories and chose poems from Das Stundenbuch that mirrored the sentiments of each prayer. Adoration is a proclamation of faith, a statement of unrelenting praise and prayer. The narrator unapologetically declares that even if it begets arrogance, nothing will diminish his drive to reach out to God. Even through this bold statement, the poem maintains reverence and a sense of wonder toward its subject. Confession is a statement of the brokenness of the world, recounting how murder has ripped through God's call for us to love life, and how our attempts to atone for this brokenness fall short. Thanksgiving is a boisterous statement of praise to God. The speaker analogizes her praise to trumpet calls, her words to sweet wine, and her music to a northern spring day, each preparing the way for God. Supplication returns to the reverence of the first movement. The narrator contemplates her life that is ever circling around God. The accompanying monograph explains the ACTS prayers in the context of the Reformed Church of America, both historically and currently. It presents an analysis of the four Rilke poems selected to represent the ACTS prayers, including their narrative meaning, their relationship to Das Stundenbuch, their translations, and a close examination of their poetic features, such as prosody, meter, and rhyme. The discussion of the poems also required some background on Rilke's faith journey and artistic maturation. The monograph also addresses musical text setting in a broader sense by recounting some historical philosophies of textual and musical relationships and explaining where the composer's ideologies fall within the larger framework. Finally, it presents a musical analysis of Symphonic Prayers in relation to the text setting of the four poems, including an explanation of its harmonic structure, which is derived from Olivier Messiaen's modes of limited transposition. The compositional goal of Symphonic Prayers was to create a work that would honor the ACTS prayers through the elegant words of a mystic poet. The music reinforces the messages behind Rilke's honest conversations with God, and in doing so offers a new lens through which to experience the arc of the ACTS prayers.
Temple University--Theses

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18

Nakagawa, Stephanie Eiko. "A Canadian opera aria anthology for soprano." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62056.

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A problem that Canadian opera faces is that once works are premiered, they rarely receive any further performances. Singers must overcome numerous barriers to sing these works due to limited score accessibility and lack of aria adaptations and recordings. Even if singers feel passionately about Canadian opera, such obstacles may impede their motivation to perform Canadian repertoire. This thesis aims to increase the awareness and accessibility of Canadian opera through the creation of a “Canadian Opera Aria Anthology for Soprano.” The anthology includes background information about the operas, composer and librettist biographies, opera synopses, and aria adaptations. In addition, performance and interpretive guides have been formed from the author’s own research in performing these works, available recordings, and from information gathered from the author’s interviews with the composers and librettists. Hopefully the arias within this anthology will not only provide singers with useful arias for auditions, but also give them and their audience a lens through which they may better understand Canadian opera and culture. Ultimately, this research aims to increase the recognition of Canadian opera and to develop a greater interest and appreciation for these works so that one day, they may become a part of the standard operatic repertoire and reach both Canadian and international stages.
Arts, Faculty of
Graduate

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19

Otter, Harlan M. "The Madman| For mezzo-soprano and "Pierrot" ensemble." Thesis, San Jose State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1560869.

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The Madman is a five-movement song cycle that utilizes four poems from Khalil Gibran's eponymous twenty-two poem set. Like Gibran's collection of poetry, this composition sets out to portray the individual's search for meaningful self-identity while coming to terms with negative aspects of both one's own being and society at large. This journey is musically reflected by the narrative voice, a mezzo-soprano, guiding the illustrative Pierrot ensemble through a variety of dynamic and stylistic landscapes that are bound together by common themes – a lyrical romantic melody, a terse motive derived from set theory, and a humorous waltz tune.

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20

Gharbi, Aymen. "Le roman, le cinéma et la télévision dans Les Soprano : la série télévisée entre art et industrie." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100152.

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Les prétentions esthétiques de la série télévisée Les Soprano nous ont convaincu qu’elle s’inscrit dans une période significative de l’histoire des médias : la migration du cinéma et la de littérature vers la sérialité télévisée, avec tout ce que cela implique de transformations sociale, esthétiques et économiques fondamentales. Nous mettrons cette période en parallèle avec celle du cinéma du vingtième siècle et du roman du dix-neuvième siècle, afin de montrer que l’œuvre est habitée, de manière aussi bien volontaire qu’involontaire, par certaines contradictions multidimensionnelles inhérentes aux mutations de l’industrie culturelle. Ces contradictions impliquent la contamination pathologique du récit par l’interruption et la répétition, connotant une passivité fondamentale de l’Homme moderne
The aesthetic pretensions of the television series The Sopranos have convinced us that it is part of a significant period in the history of the media: the migration of cinema and literature towards televised seriality with all that this implies of social, aesthetic and economic transformations. We will put this period in parallel with that of the twentieth century cinema and the nineteenth century novel to show that the work is inhabited, both voluntarily and involuntarily, by certain multidimensional contradictions inherent in the mutations cultural industry. These contradictions imply the pathological contamination of the story by interruption and repetition, which connotes a fundamental passivity of modern man

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21

Cederblad, Peter. "Developing a soprano classifier using FIR-ELM neural network." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-33399.

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This thesis aims at investigate the feasibility of classifying the soprano singing voice type using a single layer neural network trained with the FIR-ELM algorithm after that the monaural auditory mixture has been segmented with the Harmonic, Percussive and Residual, HPR, decomposition algorithm, previously introduced by Driedger et al.Two different decomposition structures has been evaluated both based on the same HPR decomposition technique. Firstly one single layer that only take advantage of the result of the more pure harmonic and the more pure percussive components of the signal. Secondly, one multilayer structure that further decompose both the harmonic and the percussive components but also takes into account the components that can not be clearly categorized as neither harmonic or percussive components, these are the residual components. The result of the classification was up to 98.5 $\%$ after using these segmentation techniques, this shows that it is feasibly to classify the singing voice type soprano in an monaural source recorded in a non-professional environment using the FIR-ELM algorithm.

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22

Walls, Jay Alan. "Autographs 1928 : Four Songs for Soprano and Chamber Ensemble." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279054/.

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Autographs 1928: Four Songs for Soprano and Chamber Ensemble is a composition of approximately 16 minutes' duration and is scored for mezzo-soprano, flute, oboe, clarinet, horn in F, viola, violoncello, one keyboardist (piano and celesta), and two percussionists (marimba, xylophone, chimes, timpani, bass drum, temple blocks, triangle, and slapstick). The work consists of four songs and four readings with texts from Walls's maternal grandmother's autograph book. The composition opens with a reading and alternates between readings and songs. The music is intended to reflect the playful, tender and humorous nature of the lyrics.

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23

Webb, Lisa A. (Lisa Ann). "Forever's Silent Song for Chamber Orchestra and Mezzo-Soprano." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500386/.

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This work is a setting of two poems by E.E. Cummings for chamber orchestra and mezzo-soprano soloist. The approximate durations of the first and second movements are respectively seven and one half, and six minutes. The music was inspired by the poetry and attempts to highlight the cyclic syntax which hallmarks Cummings' style. The first poem ("pity this busy monster, manunkind,") presents a sarcastic analysis of the progress of society. The compositional techniques used in the first movement involve elements of ostinato and fragmented motivic development to punctuate the penetrating message of the poem. The second movement ("these children singing in stone a") offers a marked contrast in texture and is a peaceful resolution to the agitated frustration of the first poem. Chromaticism is an essential element in defining the melodic and harmonic style. The vocal writing is largely declamatory and presents the vocalist with challenges of tessitura, intervallic complexity and extended technique.

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24

Brennan, Emily. "A recital of selected repertoire for the soprano voice." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1746.

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Vado, ma dove? W.A. Mozart (1756-1791) Auf dem Strom Franz Schubert (1797-1828) Canciones clásicas españolas Fernando Obradors (1897-1945) Del cabello más sutil La mi sola, Laureola Al amor INTERMISSION Quatre Poémes Hindous Maurice Delage (1879-1961) I. Madras II. Lahore III. Benares IV. Jeypur Wild Swans Ricky Ian Gordon (b. 1956) The Red Dress Once I Was

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25

Justice, Elizabeth Anne. "The effect of oral contraceptives on the soprano voice: an exploratory study." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc798332/.

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Several researchers have suggested that fluctuating estrogen levels may be responsible for certain physiological changes in the female body. The purpose of this study was to determine whether significant changes in the soprano voice quality occur due to the use of oral contraceptives.

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26

Hall, Emily. "Inside is the sky : for mezzo soprano and chamber orchestra." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83168.

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Inside is the Sky is a musical composition for mezzo soprano and chamber orchestra. It is a collection of four songs using poems by renowned Canadian poet Lorna Crozier: A Summer's Singing, In Moonlight, Tautologies of Summer, and Inner Space. The composer wishes to connect music and poetry on a fundamental level. The approach is to write music that responds not to the mere surface of the poems, but rather to their central poetic themes, by means of parameters intrinsic to music: harmony, rhythm, melody, and registral expanse.

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27

Ascroft, Pamela Denise. "A recital of selected repertoire for the mezzo-soprano voice." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/1055.

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JOHANN SEBASTIAN BACH Buss und Reu, St Matthew Passion Es ist vollbracht, St John Passion FRANZ JOSEPH HAYDN O luna lucente, Il Mondo della luna ROBERT SCHUMANN Gedichte der Königin Maria Stuart Abschied von Frankreich Nach der Geburt ihres Sohnes An die Königin Elisabeth Abschied von der Welt Gebet STEFAN WOLPE Simeini kahotam al libeha, Two Songs for Alto and Piano SRUL IRVING GLICK "...i never saw another butterfly... " To Olga Yes, That's The Way Things Are The Little Mouse On A Sunny Evening Narrative The Butterfly LEILA LUSTIG Wretched Highway WILLIAM BOLCOM The Actor George

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28

Makela, Steven L. "Reconstructions: Nine Movements for Solo Soprano, Chorus, and Wind Ensemble." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2435/.

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Reconstructions is a nine-movement composition for solo soprano, chorus, and wind ensemble using texts from several of Emily Dickinson's poems. The soloist represents the main character in this dramatic work, and the narrative structure portrays abstract moments in this character's life. While the narrative structure of the reconstructed fragments is important to the form of the composition, other elements are also significant. Pitch structures generated from set theoretical systems, in addition to cyclic and palindromic structures are utilized throughout. Timbre also delineates the form, as various combinations of instruments and chorus create an evolving environment in which the soloist resides.

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29

Weirmeir, Jude Thomas. "Aspic trails : [for soprano, flute, and 'cello : 2004-06 : opus -1] /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236632.

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30

Mossolow, Alexandra Xenia Sabina. "The career of South African soprano Nellie du Toit, born 1929." Thesis, Stellenbosch : University of Stellenbosch, 2003. http://hdl.handle.net/10019.1/16394.

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Thesis (M. Mus.)--University of Stellenbosch, 2003.
ENGLISH ABSTRACT: Who is Nellie du Toit and what is the extent of her career as singer and voice teacher? The void in South African historiography in respect to the life and work of South African performing artists gave rise to investigate the career of Nellie du Toit. Known as one of South Africa’s most illustrious opera singers of the 1960’s and 1970’s, who made her career exclusively in South Africa, she is regarded as one of the most sought after voice teachers. Her career as singer spanned almost three decades. As voice teacher her career of over forty years is still ongoing. This study traces her biographical details chronologically beginning with her youth years in a very musical family. Her full-time music studies took place at the South African College of Music in Cape Town, from 1950 to 1952. Here her singing teacher Madame Adelheid Armhold and Gregorio Fiasconaro, head of the Opera School, were influential in laying the foundations for her career. After a period of over a year in England Du Toit was one of several young South African singers to contribute to pioneering opera in South Africa, often sung in the vernacular. Du Toit sang in forty-five opera seasons for the Provincial Arts Councils in the seventeen years between 1963 and 1979, when her opera career ended. In 1986 she returned to the opera stage as the Marschallin in Der Rosenkavalier by Richard Strauss. This was also her final farewell as opera singer. The title role in Madama Butterfly can be regarded as her hallmark. Her stunning portrayal of Lucia in Lucia di Lammermoor was regarded as a mile stone in South African opera history, as was her interpretation of Jenůfa. She was also hailed as a Mozart singer. Not only was she regarded as one of the world’s best “Butterflies” at the International Madame Butterfly Competition in Japan in 1970, but has she also been awarded three Nederburg Opera Prizes. Apart from opera, Du Toit gave numerous recitals of classical and light classical music, regularly sang in orchestral concerts and oratorio and was active as broadcasting artist. Her work as voice teacher always ran parallel to her singing activities. Her academic career at the Universities at Stellenbosch and Cape Town spanned fourteen years: from 1980 to 1993. Nellie du Toit’s achievements in music were laureated with the Medal of Honour from the Academy of Arts and Sciences in 1986 and an Honorary Doctorate from the University of Stellenbosch in 1998.
AFRIKAANSE OPSOMMING: Wie is Nellie du Toit en wat is die omvang van haar loopbaan as sangeres en sangpedagoog? Die leemte in Suid-Afrikaanse historiografie met betrekking tot die lewe en werk van Suid- Afrikaanse uitvoerende kunstenaars het aanleiding gegee tot hierdie ondersoek na die loopbaan van Nellie du Toit. Bekend as een van Suid Afrika se vermaarde operasangeresse van die 1960’s en 1970’s wat haar loopbaan eksklusief in Suid-Afrika gemaak het, word sy ook beskou as een van die mees gesogte sangpedagoë. Haar loopbaan as uitvoerende kunstenaar het oor byna drie dekades gestrek. Haar loopbaan as sangpedagoog, ná meer as veertig jaar, gaan steeds voort. Hierdie studie ondersoek haar lewe en loopbaan chronologies, beginnende met haar jeugjare in ŉ baie musikale gesin. Haar voltydse musiekstudies aan die Suid-Afrikaanse Musiekkollege in Kaapstad het van 1950 tot 1952 geduur. Hier het Madame Adelheid Armhold, haar sangpedagoog, en Gregorio Fiasconaro, hoof van die Operaskool, ŉ stewige fondament vir haar loopbaan gelê. Na ŉ tydperk van meer as ŉ jaar in Engeland, het Nellie du Toit een van die jong Suid-Afrikaanse sangers geword wat operabaanbrekerswerk in Suid-Afrika gedoen het. Du Toit het in vyf-en-veertig operaseisoene vir die Uitvoerende Kunsterade gesing in die sewentien jaar tussen 1963 en 1979, die jaar waarin haar operaloopbaan tot ŉ einde gekom het. In 1986 het sy na die operaverhoog teruggekeer in die rol van die Marschallin in Der Rosenkavalier van Richard Strauss. Dit was ook haar finale vaarwel as operasangeres. Die titelrol in Madama Butterfly kan as Du Toit se kenteken beskou word. Haar merkwaardige uitbeelding van Lucia in Lucia di Lammermoor is beskou as ŉ mylpaal in die Suid-Afrikaanse operageskiedenis. Dit geld ook vir haar vertolking van Jenůfa. Sy was ook hoog aangeskryf as Mozart-sangeres. Nellie du Toit is as een van die wêreld se beste “Butterflies” aangewys tydens die Internasionale Madame Butterfly Kompetisie in Japan in 1970. Daarbenewens het sy in Suid-Afrika drie Nederburg Operapryse ingepalm. Afgesien van opera het Nellie du Toit talryke uitvoerings van klassieke en ligte klassieke musiek gegee en gereeld in orkeskonserte, oratoria en as uitsaaikunstenaar opgetree. Naas haar loopbaan as uitvoerder het haar aktiwiteite as sangpedagoog byna ononderbroke voortgegaan. Haar akademiese loopbaan aan die Universiteite van Stellenbosch en Kaapstad het oor veertien jaar gestrek: van 1980 tot 1993. Nellie du Toit se prestasies in musiek is bekroon met die Erepenning van die Akademie vir Wetenskap en Kuns in 1986 en ŉ eredoktorsgraad van die Universiteit van Stellenbosch in 1998.

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Crawford, Elizabeth Anne Kowalsky Frank. "The chalumeau in eighteenth-century Vienna works for soprano and soprano chalumeau /." Diss., 2008. http://etd.lib.fsu.edu/theses/available/etd-04032008-111644/.

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Treatise (D.M.A.) Florida State University, 2008.
Advisor: Frank Kowalsky, Florida State University College of Music. Title and description form dissertation home page (viewed 4-6-2009). Document formatted into pages; contains 66 pages.

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Shandro, Shaunna. "Doctoral thesis recital (soprano)." 2011. http://hdl.handle.net/2152/16560.

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Alone I am, yes all alone; Hetmans, O Hetmans; The Muscovite hussar has not returned from his campaigning; To the island of Khortytsia; The sailboat; Ukrainian melody / Mykola Lysenko -- Thought; Behind the grove the sun is setting; Not in silk swaddling clothes; My captive thought has remained silent for too long / Yakiv Stepovyi -- I would like to become the song; Why, dear girl, have you become so sad?; A path winds through the rye; Old King Cole / Kyrylo Stetsenko.
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Simpson, Icy. "Artist diploma recital (soprano)." 2011. http://hdl.handle.net/2152/16563.

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Ave Maria / L. Luzzi -- Per pieta bel idol mio / Vincenzo Bellini -- Ideale / Francesco Paolo Tosti -- Mattinata / Ruggiero Leoncavallo -- I wait for you, op. 14, no. 1; How fair this place!; Believe it not! / Sergei Rachmaninoff -- L'alba separa dalla luce; Non t'amo piu; L'ultima canzone / Tosti -- In un coupe?; O Mimi, tu piu non torni / Giacomo Puccini -- Giovanna, ho dei rimorsi; Parla, siam soli; Un di, se ben remmentomi / Giuseppe Verdi -- On the hill / Wonho Kim -- Mountain village / Dunam Cho -- Lullaby / Leslie Adams -- Ride on King Jesus / arr. Hall Johnson -- Mountain sunset / Pangil Park -- Boating song / Doonam Cho.
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Taylor, Nicole Lynette. "Doctoral thesis recital (soprano)." 2011. http://hdl.handle.net/2152/16566.

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Moellenhoff, Cynthia Dyre. "Doctoral thesis recital (soprano)." 2011. http://hdl.handle.net/2152/16465.

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Warnung; Der Zauberer / W. A. Mozart -- Madchenlied op. 107, no. 5; Madchenlied op. 95, no. 6; Das Madchen op. 93a, no. 2 / J. Brahms -- Frauenliebe und Leben, op. 42 / R. Schumann -- Man is for the woman made; What can we poor females do? / H. Purcell -- Try me, good king; Last words of the wives of Henry VIII / L. Larsen -- Steal me, sweet thief / G. Menotti.
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Park, Soo-Ah. "Doctoral thesis recital (soprano)." 2010. http://hdl.handle.net/2152/11566.

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Zenobi, Dana. "Doctoral thesis recital (soprano)." 2011. http://hdl.handle.net/2152/16605.

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From Hochzeitskantate BWV 202 / J. S. Bach -- A song cycle on the birth of Jesus / John Lambert -- Der Hirt auf dem Felsen / Franz Schubert -- Cinq melodies populaires grecques / Maurice Ravel -- Siete canciones populares espanolas / Manuel de Falla.
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Ward, Emily Lockhart. "Doctoral thesis recital (soprano)." 2011. http://hdl.handle.net/2152/16652.

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Dirti addio / Gaetano Donizetti -- Four songs / Andre Previn -- L'amero saro costante / W. A. Mozart -- La flute enchantee / Maurice Ravel -- Une flute invisible / C. Saint-Saens -- Scena, Le nozze di Figaro / W. A. Mozart -- Trio, Der Rosenkavalier / Richard Strauss.
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Chakos-Kaloyanides, Christina. "Master's thesis recital (soprano)." 2011. http://hdl.handle.net/2152/16789.

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Caldas, Cristina. "Doctoral thesis recital (soprano)." 2011. http://hdl.handle.net/2152/16115.

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Zenobi, Dana. "Doctoral thesis recital (soprano)." 2010. http://hdl.handle.net/2152/16010.

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Cavatina "Deh, torna a me" / Fanny Mendelssohn Hensel -- Der Tag; Reiterlied; Abschied; Der Bettler / Felix Mendelssohn Bartholdy -- Der Maiabend; Morgenstandchen; Die Mainacht; Wanderlied / Fanny Mendelssohn Hensel -- In Liebeslust; Du bist wie eine Blume; Vergiftet sind meine Lieder; Ich mochte hingehn; The maiden's wish; Hungarian rhapsody no. 10; Pace non trovo; Benedetto sia il giorno; I vidi in terra / Franz Liszt
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Shandro, Shaunna. "Doctoral thesis recital (soprano)." 2010. http://hdl.handle.net/2152/15997.

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Bolden-Taylor, Diane. "Doctoral thesis recital (soprano)." 2011. http://hdl.handle.net/2152/16091.

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Les nuits d'ete / H. Berlioz -- Standchen; Dein blaues Auge; Von ewiger Liebe; Vergeblisches Standchen / J. Brahms -- Four preludes / H. Swanson -- Four recipes / L. Bernstein -- My dream / F. B. Price -- Grief / W. G. Still -- Dry bones / M. Bonds.
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Jackson, Bianca. "Doctoral thesis recital (soprano)." 2011. http://hdl.handle.net/2152/16978.

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Exsultate, jubilate K. 165 / W. A. Mozart -- Vorrei spiegarvi, oh Dio! K. 418 / W. Mozart -- Lied from Sechs Lieder nach Gedichten von Clemens Brentano op. 68 / R. Strauss -- Quatre chansons de Ronsard op. 233 / D. Milhaud -- Always through the changing (The ballad of Baby Doe) / D. Moore.
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Cummings, Natalie. "Master's thesis recial (soprano)." 2012. http://hdl.handle.net/2152/19237.

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Jackson, Bianca. "Doctoral Thesis Recital (soprano)." 2012. http://hdl.handle.net/2152/19365.

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Ramo, Suzanne. "Doctoral Thesis Recital (soprano)." Thesis, 2012. http://hdl.handle.net/2152/19523.

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Exsultate, jubilate, K.165 / Mozart -- Serenade / Gounod -- Di', cor mio / Handel -- Freundliche Vision, op.48, no.1; Ich schwebe, op.48,no.2; Kling! op.48,no.4; Morgen, op.27, no.4; Heimliche Aufforderung, op.27, no.3 / Strauss -- Joy / Gordon -- 'Round midnight / Monk -- Coyotes / Gordon.
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Wehrung, Kimberly. "Master's Thesis Recital (soprano)." 2012. http://hdl.handle.net/2152/19555.

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Ma rendi pur contento / Vincenzo Bellini -- La promessa / Gioacchino Rossini -- L'invito / Gioacchino Rossini -- Die Hirt auf dem Felsen / Franz Schubert -- Fiancaille pour rire / Francis Poulenc -- Six poems by Emily Dickenson / John Duke.
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Ward, Emily Lockhart. "Doctoral Thesis Recital (soprano)." 2012. http://hdl.handle.net/2152/19550.

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Stephens, Jacqueline Page. "Master's thesis recital (soprano)." Thesis, 2012. http://hdl.handle.net/2152/23614.

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Flow my tears, Come again, In darkness let me dwell / John Dowland -- Poeme d'avril / Jules Massenet -- Tre sonetti di Petrarca, S.270 / Franz Liszt -- Wie Melodien zieht es mir / Johannes Brahms -- Immer leiser wird mein Schlummer / Hermann Lingg -- An eine Aeolsharfe / Eduard Morike.
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