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Relevant bibliographies by topics / Words; Text setting; Music / Dissertations / Theses

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Dissertations / Theses on the topic 'Words; Text setting; Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

King, Jonathan. "Texting in early fifteenth-century sacred polyphony." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321515.

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2

Hurd, James Alexander. "From a Peacock to Apocope: An Examination of Maurice Ravels Text Setting in the Histoires naturelles, LHeure espagnole and Other Pre-WWI Vocal Works." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1258478854.

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3

Banga, David Paul. "Arnold Schoenberg's approach to text setting in "The Book of the Hanging Gardens"." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ57083.pdf.

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4

Lyszczarz, Joseph E. "Among the Voices Voiceless: Setting the Words of Samuel Beckett." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011787/.

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Among the Voices Voiceless is a composition for flute (doubling piccolo), clarinet (doubling bass clarinet), viola, cello, percussion, piano, and electronics, based on the poem "What would I do without this world faceless incurious" by Samuel Beckett. The piece is a setting for disembodied voice: the vocal part exists solely in the electronics. Having no physical body, the voice is obscured as the point of empathy for the audience. In addition, instrumental solos compete for focus during the work's twenty minute duration. In passages including a soloist, the soloist functions simultaneously as antagonist and avatar to the disembodied voice. Spoken word recordings and electronic manipulation of instrumental material provides further layers of ambiguity. The companion critical essay "Among the Voices Voiceless": Setting the Words of Samuel Beckett proposes the distillation of Beckett's style into the elements of prosaicness, repetition, fragmentation, ambiguity, and symmetry. Discussions of Beckett's works such as Waiting for Godot and Molloy demonstrate these elements in his practice. This framework informs the examination of two other musical settings of Beckett's poetry: Neither by Morton Feldman and Odyssey by Roger Reynolds. Finally, these elements are used to analyze and elucidate the compositional decisions made in Among the Voices Voiceless.

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5

Langager, Graeme Michael Allyn. "Of Text and Tune: The Relationship Between Words and Music in the Choral Music of Gerald Finzi." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1155575211.

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6

Parsons, James. "Music and Words. Towards an Understanding of Text in the Finale of Beethoven's Choral Symphony." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37116.

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7

Viglianti, Raffaele. "Music and Words: Reconciling libretto and score editions in the digital medium." Allitera Verlag, 2016. https://slub.qucosa.de/id/qucosa%3A23357.

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8

Ku, Christopher Jun-Sheng. "'Aptlie framed for the dittie' : a study of setting sacred Latin texts to music in sixteenth-century England." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:8b7d80ad-6989-48f5-9d88-6987b656ef59.

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Although considerable attention has been paid to the texting practices of specific composers and certain repertoires, a comprehensive study of the practice of texting in the sacred Latin‐texted vocal works of sixteenth‐century England remains to be undertaken. How did English composers, scribes, and singers of the sixteenth century set words to music? Today, the general impression that emerges from critical apparatuses of modern performing editions, where manuscripts of vocal music copied by sixteenth-century English copyists are concerned, is negative: they are regarded as casual, often‐contradictory transmissions, replete with idiosyncrasies and arbitrary placement of text. But the detail in five hundred‐year‐old primary sources cannot and should not be so easily dismissed. Through a series of case studies drawn from the largest and most complete music manuscripts of English provenance that date from approximately 1500–90 — the Eton Choirbook, the Lambeth Choirbook, the Caius Choirbook, the ‘Forrest‐Heather’ Partbooks, the Peterhouse Partbooks (Henrician Set), the Sadler Partbooks, the Baldwin Partbooks, and the Dow Partbooks — this dissertation offers a fresh perspective on the many texting variants present in the sources, subjecting them to critical analysis to ascertain what prompted a scribe to copy a passage of music and its text in a particular way. Occasionally, a variant was indeed no more than a result of scribal error or inattention. More often than not, however, a scribe was either resolving an ambiguity that he perceived in his exemplar or deliberately infusing the copy with his own concepts of ideal texting. Three specific areas of interest are traced in the dissertation: the texting of long‐note cantus firmi, the treatment of melismata, and the relationship between music, prosody, and textual syntax. At the outset of the century, cantus firmus lines, as scribes copied them, required a certain amount of interpretation before they could be realised; melismata were an integral part of the compositional style that functioned as punctuation for the music; and textual coherence was unnecessary if it could not be achieved within the constraints of the music. By the close of the century, cantus firmus lines were copied literally with no additional interpretation required on the part of the performer; melismata were reduced to a purely decorative function; and textual integrity and correct prosody had become defining factors in how a piece of music was composed and formally organised. The specifics of what carried musicians from one extreme to the other in the interim is at the heart of this study. This dissertation is part of the growing body of research on the music of sixteenth‐century England. In enquiring into the minutiae of setting Latin text to music during this period, an area that heretofore has been relatively unexplored, it is hoped that this project will contribute to the total knowledge in the wider field of studies in text‐music relations.

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9

Rosser, Geraldine Metcalf. "Rules for setting of French text in the writings of Alexandre Etienne Choron (1771-1834) and his contemporaries." Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5num=osu1064018314.

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Thesis (Ph. D.)--Ohio State University, 2003.<br>Title from first page of PDF file. Document formatted into pages; contains xiv, 272 p. : ill. Advisor: Burdette Green, School of Music. Includes bibliographical references (p. 251-272).

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10

Hoffman, Brian D. "Elements of the Musical Theater Style: 1950–2000." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322562.

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11

Siegrist, Tomasz Marc. "At the borders of Polyphony : About different Text simultaneously in a choir setting,with a particular focus on vowels." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2510.

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12

Tucker, Carlton S. "The Choral Works of Robert Ward: A View of His Compositional Approach to Text Settings and His Use of Symbols and Allusions." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3604.

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13

Sherman, Philip. "Where words leave off, music begins : A comparison of how Henry Purcell and Franz Schubert convey text through their music in the compositions Music for a while and Erlkönig." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2342.

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”The singer is always working through a text that in some way or another inspired the vocal line and its texture,” wrote American pianist, pedagogue, and author Thomas Grubb. But exactly how does a text inspire a composer to create this synergy between words and music? During the course of my studies at the Royal College of Music in Stockholm, I gradually began to deepen my knowledge and awareness of Henry Purcell and Franz Schubert. I was at once astounded by their ability to seemlessly amalgamate the chosen texts to their music, and decided that this connection required greater research. The purpose of this study was thus to gain a deeper understanding of how Purcell and Schubert approached the relationship between text and music by studying the two pieces Music for a while and Erlkönig. I also wished to discover any similarities and differences between the composers’ approaches to word painting, in addition to discerning the role of the accompaniment to further illustrate the narrative. I began by reading literature about the two composers as well as John Dryden and Johann Wolfgang von Goethe, the poets whose texts were set to music. Once a greater understanding of them had been attained, I proceeded to analyze the texts and music for a greater comprehension of Purcell’s and Schubert’s methods. For early inspiration, I listened to numerous versions of the pieces by different musicians on YouTube. Both Purcell and Schubert used various tools in their compositional arsenals to accomplish their effortless combination of text and music. Amongst others, Purcell employed tonal ambiguity, unexpected harmonies, and repetition, while Schubert made use of vivid imagery, inventive treatment of chromaticism, and unmistakable rhythmic motifs. The analysis demonstrated that, while both composers painted lively and dramatic pictures in their compositions, their methods were strikingly different. The role of the accompaniment in Music for a while leaves much to the individual taste and ability of the instrumentalist(s) performing to assist the singer in setting the scene. In contrast, Schubert instructs the pianist in Erlkönig explicitly how they are to play, while additionally the piano personifies the fifth character in the story, the horse. Indeed, the role of the singer in the two pieces is equally at variance with the other. With Purcell, the singer portrays a priest, while the singer in Erlkönig personifies four different voices, each with their own melody, character, and tessitura. I hope this study will inspire others to delve deeper into the material with which they work to offer a more profound understanding to themselves and, ultimately, the listener.

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14

Silverman, Gregory Carmine. "The Influence of the Reformed Jewish Movement and Religious Belief on Text-Setting in Darius Milhaud's Service Sacré." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311577.

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The music and texts of the Jewish liturgy are commonly called the Sacred Service. Choral settings of this liturgy form a distinct genre of choral music. Despite the rich history and influence of the text itself, relatively few composers have set it chorally. Among the two most influential settings are Avodath Hakodesh (1933) by Ernest Bloch and Darius Milhaud’s Service sacré (Sacred Service) of 1947. Temple Emanu-El Reformed Congregation in San Francisco commissioned both under the leadership of Cantor Reuben Rinder, and the two pieces have many similarities. The focus of the present research is on expressive text-setting in the Service sacré of Darius Milhaud. My research suggests that study of Milhaud’s personal beliefs and religious background can help explain some of the composer’s compositional decisions in Service sacré. Milhaud’s background includes deep roots in the Jewish tradition, but he also shows a keen appreciation for aspects of Christian theology. Prior to this study, Milhaud’s intent to expressively set the text has not been thoroughly considered. Particularly interesting are his settings of texts that deal with themes such as salvation and redemption, including movements such as Tsur Yisrael (Mvt. V), Praised be Thou, O Lord (Mvt. VI), and Returning the Scroll to the Ark (Mvt. XII). These topics of salvation and redemption are usually deemphasized in the Reformed Jewish perspective. Yet, in Milhaud’s work, these portions are highlighted through his compositional settings.

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15

Fritz, Rebekka. "Text and music in German operas of the 1920s : a study of the relationship between compositional style and text-setting in Richard Strauss's Die Ägyptische Helena, Alban Berg's Wozzeck and Arnold Schoenberg's Von Heute auf Morgen /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1998. http://catalogue.bnf.fr/ark:/12148/cb36970888n.

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16

Nienhuis, Kathryn. "The institutional family : group music therapy in an institutional setting." Diss., 2003. http://hdl.handle.net/2263/30578.

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This study focuses on the social interactions that occur during group music therapy between children who have mental and physical handicaps and the music therapist. It also examines the interactions that occur in a daily institutional family context between children who have mental and physical handicaps and their adult group leader. The aim is to investigate what role music therapy might play within an institutional family with persons who have diverse disabilities and how music therapy could adapt to become more relevant for the institutional context. This study examines the parallels between interactions in group music therapy and in the daily institutional family context. The setting for this study is at Little Eden, which is a residential home for children and adults who have profound mental and physical handicaps. A qualitative research perspective is adopted for this study and it is based on two data sources involving video footage: descriptions of a musical activity in a group music therapy session with three children from Little Eden and descriptions of interactions that take place in the daily institutional environment at Little Eden. This study does not seek to ‘prove’ that parallels exist, but to describe and understand the ways in which meaningful moments of interaction in group music therapy parallel meaningful interaction between disabled members in an institutional family. The findings of this study show that group music therapy does not need to adapt but could offer a more qualitative mode of interacting that possibly Little Eden or other institutions would like to see more of. This study also highlighted some differences and similarities in interactions between disabled children in group music therapy and in the daily institutional context.<br>Dissertation (MMus (Music Therapy))--University of Pretoria, 2006.<br>Music<br>unrestricted

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17

Sweetko, Marlene. "The union of words and music in the setting of EE Cummings' poetry /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR32028.

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Thesis (M.A.)--York University, 2007. Graduate Programme in Musicology and Ethnomusicology.<br>Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR32028

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18

Ricardo, João Diogo Cristovão. ""... and Words on Music" O Texto Transcrito como Base para a Composição Musical." Master's thesis, 2019. http://hdl.handle.net/10362/82084.

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Os ficheiros audio que fazem parte desta dissertação estão disponíveis na Biblioteca Mário Sottomayor Cardia<br>Este relatório de projeto artístico tem como base a sistematização de uma metodologia de composição que testa uma possível associação entre componentes textuais e elementos musicais. Poderá ser encarada como uma transcrição de caraterísticas textuais para parâmetros musicais, de forma a que a literatura continue a ser um dos impulsos principais na criação musical, mas diferente de géneros e métodos de composição ligados à literatura pelo uso da palavra cantada ou declamada, ou na literatura como inspiração que se pressupõe em reportório programático. Para isso foi desenvolvido um processo de transcrição em que o texto é tratado como dados em bruto – consoante os caracteres individuais e combinações entre letras, em sílabas, palavras ou frases – resultando em sequências numéricas e alturas de notas, e usadas na construção de motivos, acordes, estruturas, etc.; destas transcrições resultam séries de notas musicais, com alturas e durações específicas, que são tratadas como o material musical disponível para o compositor. Não se trata de uma transcrição ou codificação direta de texto em música, mas sim de explorar como estes processos criptográficos podem ser aplicados artística e criativamente. Todas as peças foram conseguidas a partir da aplicação do método acima descrito de transcrições textuais, trabalhadas e metamorfoseadas em diferentes formatos e resultados criativos. Tudo isto culmina num portfolio de peças musicais, para além de exemplos audiovisuais. Apresentam-se pontos de partida e fundamentos relativos ao desenvolvimento e aplicação deste auxiliar de composição, bem como experiências, rascunhos, e uma análise retrospetiva do que foi feito e das possibilidades futuras.<br>This artistic project study has its foundation in the systematization of a composition methodology that tests a possible association between textual components and musical elements. It might be seen as a transcription of textual characteristics to musical parameters, in which literature still remains one of the main impulses for the musical creation, but astray from genders and methods tied to literature by spoken or sang word, or literature as the inspiration present in programmatic repertoire. To this end it was developed a transposition process in which text is treated as raw data – according to individual characters and combinations between letters, syllables, words or sentences – resulting in numeric sequences and pitches, and used in the construction of motifs, chords, structures, etc.; from these transpositions results series of musical notes, with specific pitches and durations, that are treated as the musical material available to the composer. It’s not about a direct transposition or codification of text in music, but rather exploring how these cryptographic processes can be applied artistically and creatively. All pieces were achieved by the application of the method described above, crafted and metamorphosed in different formats and creative results. All this culminates in a portfolio of musical works, as well as audiovisual examples. Starting points and fundaments regarding the development and application of this compositional aid are presented, as well as experiences, drafts, and a retrospective analysis of what’s been done and of future possibilities.

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