Entitled ���You Make Me Feel Like a Natural Woman: Pastoral Reflections by Passionate Women,��� this recital seeks to sing the unsung. The program features music of forgotten composers, forgotten cultures, and especially of forgotten women. The recital speaks on behalf of these composers through pastoral themes. The women of these texts express love and loss through communion with nature. They see their hearts��� reflections in the sun and the moon, the flowers, the birds, and the seasons. These women articulate their emotions and explore their identities within a pastoral framework. / Mary Pappert School of Music; / Music Performance / MM; / Recital;

Thesis (M.A.)--University of Hawaiʻi at Hilo, 2003. / "Kekemapa 2003."

Thesis (doctoral)--Universität zu Köln. / Includes bibliographical references (p. 290-300).

Thesis (D.M.A.)--University of North Texas, 2002. / Accompanied by 4 recitals, recorded Nov. 24, 1997, Oct. 19, 1998, Feb. 28, 2000, and Aug. 26, 2002. Includes bibliographical references (p. 72-79).

Egil Hovland is one of Scandavia’s most predominant living composers, having created a massive opus of works that encompasses nearly every genre and performing medium. Yet despite the many contributions he has made to the international community, his name and works remain virtually unknown outside of Scandinavia. For many years, the exposure to Hovland’s works in the United States has unfortunately been very limited. Most choral musicians have long had only one (if any) association with Hovland’s name, that being the 1971 motet, Saul. In recent years, however, a few select mature works by Hovland have been translated into English and performed by a growing number of American choral groups. The objective of this study is to move beyond Saul through the exploration of Hovland’s stylistic evolution, and via a survey of selected mature choral works and an analysis of the Credo, Op. 137, no. 1. While the few extant studies available in English have explored Egil Hovland’s choral music predating 1980, this study focuses on his mature choral works, dating from the late 1970s to the present. The significance of such a study is two-fold: first, Hovland’s later works represent a general departure from his earlier compositional techniques, shifting away from the experimentalism and extreme chromaticism that characterizes much of his earlier opus toward a simpler, generally neoromantic compositional idiom; and second, because of this general shift in character and style, much of his later music is accessible to a wider spectrum of both performers and listeners, and warrants the attention of choral musicians in the United States and internationally. / text

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The years from 1800 to 1880 produced a distinct and identifiable body of flute literature representative of the Napoleonic age in France and also the Romantic period as a whole. The changing role of the flutist exhibited in this vocally-based literature can be traced to effects from the development of the Boehm system and to certain nineteenth-century sociological changes in France. Compositions from this school also reflect the emerging status of the flutist as solo virtuoso.The literature of the French flute school represents a hybrid form of instrumental virtuosity and extremely expressive melodies which holds a unique place in flute literature. Nevertheless, its use appears to be decreasing steadily, probably due to differing opinion about the questionable musical value of this body of music. The present study was therefore devised to identify idiosyncratic characteristics of the literature, and to examine possible pedagogical applications in light of these characteristics.Six composers were chosen who were flutist-virtuosi from 1800-1880: Tulou, Boehm, Altes, Genin, Demersseman and Andersen. Biographical information was included to enlarge the sociological picture of the flutists' status as Romantic virtuosi, and to aid in the presentation of various descriptions of the expressive role of the new flute.One composition by each composer was selected for analysis. Where possible, actual Conservatory Exam pieces were chosen. A pool of recurrent common characteristics emerged which are clearly related to the sociological framework of nineteenth-century France. Finally, the isolated elements were examined for possible pedagogical benefits. / School of Music

Opera is about people in conflict, sung, played and performed in non-realistic fashion; it does not faithfully imitate real life. I claim that nevertheless, opera can enliven the characters and their state of mind, causing the listener-spectator experience a sensation unequalled by other genres. My aim is to show the musical means by which Berlioz achieved characterization. To do this I select three of his dramatic works, created at different periods of his career, and follow some key figures through the action, analyzing their role. Part One deals with a theoretical approach to characterization and the multiple components of opera. My investigations use the libretto's role only as a basis for the musical events, and exclude the visual element. I present nineteenth-century's aesthetic principles and match them with Berlioz's own credo. I compare some aspects of the novel and poetry with opera. From these readings one can sense Berlioz's urge to express inner feelings, their `psychological essence'. I consider contemporaries' reception of his operas that shows that he was appreciated mainly by a few but first-rank artists. Criticism over the last century is also reviewed, and an assessments made of the composer's own aesthetic position. Part Two provides the Case Studies of characters and deals with the operas Benvenuto Cellini, La Damnation de Faust, and Les Troyens. I also demonstrate the characterization of different atmospheres and of whole operas. In Benvenuto Cellini I concentrate on the role of Teresa, which shows imaginative use of a motive that represents the essence of her character. This method comes close to a 'Leitmotif. In La Damnation de Faust there is a focus on the supernatural, relating to Mephisto. Music is Margarita's natural way of expression and personifies her chaste character. Her music contrasts starkly with Mephisto's. In this unstaged opera music plays a special dramaturgical role. In the opera Les Troyens Aeneas is characterized as a fully rounded and complex person. Music takes an active part in the unfolding of Aeneas's development, as he assumes leadership; in each phase of his development, in intimate situations or in authoritative ones, Berlioz found the adequate musical idiom to deepen our comprehension of his motivations. In conclusion: Characters achieve a `psychological essence' because they appear as human beings with weaknesses and virtues. Berlioz applied no single method, but a deep understanding both of human nature and of the language of music. It is possible to follow the composer's intentions by listening attentively to the symbolic language in which they are offered.

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