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The underrepresentation of Mexican art song has left classical singers with few Spanish-language repertoire options. Currently, the music of Spain dominates this scene and Mexican art song has yet to earn a place in academic curricula and concert halls. Manuel María Ponce (1882-1948) retains an important position in Mexican music. However, Ponce's vocal repertoire—consisting of over 150 songs—remained dormant for many decades after his death due to its misclassification by music aristocrats in Mexico that greatly affected their diffusion. Consequently, few copies were published during Ponce's life, making them difficult to find. The need in the singing community for repertoire of this kind has raised many questions not only about its existence and availability, but also about its origins and relationship to the established Art Song canon. To promote the diffusion of this underrepresented repertoire, a style analysis of Ponce's Romantic Mexican Art Song is offered through the lens of his writings about Mexican Song. The analysis includes vital information about the origins, form, style, and subjects of these songs. Tangible examples of these traits are provided from Ponce's Doce Canciones Mexicanas along with historically-informed suggestions for singers and translations of the text with IPA transcriptions.

Korean art songs are valuable cultural assets that exhibit their own cultural spirit and ethnicity, however, they are not introduced to Western singers because of the language barrier. As there are European-language diction books for singers used in pedagogy, this dissertation introduces Korean diction for non-Korean-speaking singers by using the International Phonetic Alphabet (IPA) to pronounce Korean ‘Hangeul'. Moreover, this document aims to help singers enter into a new world of Korean art songs by introducing ten Korean art songs selected from various compositional periods, along with transcriptions using the IPA, transliterations, translations, and the musical scores.

”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.

The value of the type of musical analysis presented in this study is based on the assumption that the more thorough an understanding the performer has of his repertoire, of both musical and non-musical elements, the more authentic the performance will be. A knowledge of the wishes of the composer and of the historical period, added to an analysis of poetry, melodic contour, harmony, rhythm, accompaniment, and texture, provides the performer with the necessary background to form his interpretation of a song. The interpretation of "Wo die schonen Trompeten blasen" depends upon an accurate execution of the various rhythmic patterns in both the vocal line and the accompaniment. The sometimes opposing rhythms (two against three) between the voice and accompaniment should be carefully observed. Another important interpretive aspect is the portrayal of both characters in the poem (the soldier and his sweetheart). Character differentiation is primarily achieved through the singer's vocal color, intensity, and general deportment. The singer must thoroughly understand the poetry and have formed a definite personality for each character. In "Das irdische Leben" the individuality of each character in the poem is even more essential. The three characters are musically differentiated by the three individual patterns of vocal melody and rhythm. These three types of vocal melodies help determine the vocal color for each character. The chromatic and ever-moving accompaniment helps build the tension of this macabre tale, but the most outstanding feature of this song must be the vocal color and characterization supplied by the singer. The light, yet ironic, humor is the most important element of "Des Antonius von Padua Fischpredigt." The tonal painting of the accompaniment creates the proper atmosphere for this fish tale. To project the poetry's humorous descriptions of the various fishes, the singer must pay special attention to vocal inflection and syllabic stress of the text. Careful attention should be given to the rise and fall of dynamics, which help depict an image of water movement. These three early songs of Mahler were chosen to provide the listener with a variety of mood, style, key, and musical harmony and rhythm. If the performers (both singer and accompanist) study the various musical and non-musical characteristics of the songs, the result should be a more authentic and meaningful presentation.

A presente dissertação tem como objetivo apontar e analisar elementos composicionais relacionados aos textos em seis canções compostas por Alberto Nepomuceno no ano de 1894. A opção pela análise da relação texto-música nesta seleção de canções de Nepomuceno possibilitou a observação de associações entre o texto em diversos elementos contributivos da linguagem musical: harmonia, melodia, textura, ritmo e dinâmica. Nesse grupo de canções de Nepomuceno, podemos observar que o compositor emprega diversos procedimentos musicais para representar também os conceitos de persona e modo de endereçamento em suas eventuais mudanças, de caráter emocional, temporal ou psicológico. / This work aims to point out compositional elements in six songs composed by Alberto Nepomuceno in 1894 through musical analysis related to the texts. The option for the analysis of the text and music in this selection of songs by Nepomuceno allowed the observation of associations in several contributory elements of musical language: harmony, melody, texture, rhythm and dynamics. In this group of songs, Nepomuceno employs as well several musical procedures to represent the concepts of persona and mode of address in their eventual changes in emotional, temporal or psychological aspects.