Treatise (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Treatise (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references.

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Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 116-121). Available also in a digital version from Dissertation Abstracts.

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This graduate recital in voice presents a wide scope of the soprano recital repertoire and explores the relationship between music and literature throughout the centuries. Mozart���s ���Bella mia fiamma��� Resta, o cara,��� K. 528 represents the Italian Classical period; the text is based on the Roman myth of the goddess Ceres. Strauss��� Drei Lieder der Ophelia, Op. 67 represents German Lieder from the late-Romantic period; the set presents a German translation of Ophelia���s mad scene from Shakespeare���s Hamlet. Argento���s Six Elizabethan Songs represent 20th-century music, but Argento draws the text from various poets of the Elizabethan era. Selected songs by Franz Liszt are representative of the French m��lodie from the Romantic period; they set the text of the Romantic poet Victor Hugo. Rachmaninoff���s Six Songs, Op. 38 represent the post-Romantic (nearly Impressionist) period and explore Russian Symbolist poetry. / Mary Pappert School of Music / Music Performance / MM; / Recital;

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Dominick Argento (b. 1927) occupies an important position among American composers. This thesis discusses his 1980 choral work Peter Quince at the Clavier: Sonatina for Mixed Chorus and Piano Concertante. On the surface, the choral and piano parts of this four movement work often sound dissimilar. To create unity within this composition, Argento utilizes a small number of generative elements that govern the pitch, intervallic, and rhythmic dimensions of the composition. This thesis also discusses the relationship between the music and the text, a poem by Wallace Stevens (1879-1955).

Dominick Argento's Miss Havisham's Wedding Night is the least explored of his artistic output. A monodrama in one act for soprano, Miss Havisham's Wedding Night contains some of Argento's most beautiful and challenging music of his compositional output. The purpose of a detailed analysis of the structure and content of Argento's Miss Havisham's Wedding Night is to facilitate the solo vocal performer's interpretation. Argento's setting of Miss Havisham's Wedding Night is unique in that he musically translates the manic psychological state of the literary character. Argento structured the one act opera in such a manner that the music would illuminate the text and the audience might connect with the unstable psychological episodes and outbursts demonstrated by Miss Havisham. To that end, each section and phrase has its own psychological motivation, which in turn demands a varied musical and dramatic interpretation. Utilizing selected scenes from Miss Havisham's Wedding Night, the researcher will analyze Argento's musical manifestation of Dickens's literary work. This research will include an investigation into the manner in which Argento uses the shape of melody and the musical phrase along with the harmonic materials to enhance the text and dramatic content. The author will explore the musical nuances Argento incorporates in an effort to develop and portray Miss Havisham's psychological state. Through an analysis of the orchestral writing the author will show how Argento's aesthetic balance between the music and text represents the emotional and psychological implications of the monodrama.