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The Finnish composer Yrjö Kilpinen is not well known today, but in the early twentieth century in Scandinavia, Germany, and England, he was hailed as the successor to Schubert, Schumann, Brahms, and Wolf in the line of Romantic Lied composers. Many have argued for the inclusion of his music in the American voice studio, but there remain impediments to the performance of his songs in their original language. One of his most poignant and famous cycles, Tunturilauluja, Opp. 52-54, remains inaccessible to most singers who are not fluent in Finnish and do not understand the Finnish culture upon which the songs are based. This essay is a performance guide to these songs and endeavors to make them accessible to sing in their original language. The essay addresses many of the issues that have heretofore prevented performance of this cycle. A guide to Finnish translation and lyric diction is provided in addition to literal and poetic translations and an International Phonetic Alphabet (IPA) transcription of the cycle. Kilpinen's life and song style is considered, with particular interest afforded to reasons for his marginalization after World War II. The essay contains the first English language source, however brief, on the cycle's obscure poet, the Laplander Vilho Edvard Törmänen. Kilpinen's setting of the poetry, guidelines for choosing individual songs, and the cycle considered as a whole are also discussed. This performance guide takes a multidisciplinary approach to the songs, frequently referencing Finnish culture and Lapland geography, which sheds light on specific links between the landscape, poetry, and music. The essay contains discussions of Finnish art, National Landscape Imagery, and photographs from the author's personal research. This methodology facilitates non-fluent singers to sing this cycle in Finnish.

The purpose of this study was to determine the effects of an auditor's past musical training and experience on the intelligibility of selected vowel sounds at differential pitch levels. The specific problems of the study were to investigate the effects of extensive vocal music training, extensive non-vocal music training, and limited or no music training on an auditor's ability to discriminate accurately selected vowel sounds performed at various pitch levels. The effects of pitch and vowel sound on auditor recognition of vowel sounds in singing and the ability of each singer to be intelligible to auditors was also investigated.

Les années 1945-1960 correspondent en France à un moment important de réoralisation de la poésie : celle-ci est diffusée à la radio, à la télévision, sur disques, dans les cabarets. Les théâtres voient quant à eux se développer, en plus des spectacles poétiques, des tentatives de poèmes scéniques. La « question du livre » et de ses dehors se révèle ainsi centrale dans l’imaginaire et les débats poétiques de cette époque : il s’agit tantôt de repenser les modes de communication du poème, d’ouvrir le domaine poétique au grand public, d’explorer les possibilités offertes par les nouvelles techniques d’enregistrement et de diffusion des sons, tantôt d’user de l’espace médiatique comme d’un lieu de performance poétique. Ce travail, qui rassemble un grand nombre d’archives écrites et audiovisuelles, dresse un état des lieux de ces médiations orales de la poésie de 1945 aux années 1960 en France et propose, à travers l’étude détaillée de diverses formes de « poèmes hors du livre », de réévaluer la place et le rôle de ces pratiques dans l’histoire de la poésie du XXe siècle. / Between 1945 and 1960, French poetry tended to re-explore its oral roots with radio and television broadcasting, recording and live performance. Theatres developed, aside from poetical performances, some attempts for staged poems. The “question of the book” in its relation to other media turned out to be central in the poetical imagination and debates of the time: some endeavoured to rethink the communication modes of poems, to open the poetical field to a wider public, to explore the possibilities offered by new recording and sound broadcasting techniques, others tried to use the media as a poetical performance space. This dissertation, which collects many written and audiovisual archives, surveys the oralisation of French poetry between 1945 and the 1960s and attempts to reassess, through the detailed study of diverse forms of “poems outside the book”, the importance and the role of those practices in twentieth century poetry history.

This dissertation deals with the poetry of C.S.Z. Ntuli, with specific reference to themes, diction and form. The introductory chapter deals with the aim of study, the author's biographical background, the development of modern Zulu poetry, the state of critical studies in modern Zulu poetry, the scope of study and the method of approach. Chapter 2 examines the main themes manifest in the poetry of Ntuli. Chapter 3 is devoted to diction, with particular reference to imagery, compound words, ideophones and deideophonic derivatives. Comment is also made on ways in which these amplify the theme in selected poems. Chapter 4 discusses outstanding formal features and techniques including stanza formation, refrains, alliteration, parallelism, linking and rhythm. Chapter 5 concludes the study by giving observations about the quality of Ntuli's contribution to modern Zulu poetry, and by exploring some possibilities regarding future studies on the poetry of Ntuli / African Languages / M. A. (African languages)

Notre réflexion consiste à analyser, sur le plan narratologique et énonciatif, la fiction et l'autofiction de Patrick Chamoiseau. Le rôle de l'écrivain y est démultiplié. Il instaure le doute dans la caractérisation générique de son œuvre, résolument digressive et paratextuelle. Il s'efforce de donner à lire un dire narratif créole dans une poétique du compromis- l'oraliture – où l'écrit et l'oral se télescopent, où une esthétique plus personnelle se débat dans une esthétique plus dominante. La mise en scène de la parole des personnages est le lieu d'une négociation scripturaire, littéraire : les énoncés mettent en relief le mariage heuristique de la fiction et de la diction, mais aussi de leur interaction intime avec des implicites énonciatifs – au sens bakhtinien de la théorie énonciative – qui traduisent le propre engagement idéologique de l'auteur. Chamoiseau tente d'extraire de sa narration polyphonique un sujet indemne des affres du présent et de l'Histoire. Il le construit par une parole, anodine et sérieuse, qui use de tout un spectre identitaire, pour se dire et dire la communauté. Les échanges prolifèrent ainsi à l'intérieur du rêve, de l'imaginaire, des histoires ou des mémoires que ses textes engendrent. / Our thinking is to analyze, through narratology utterance, fiction and fictionalized autobiography of the writer Patrick Chamoiseau. Its role is multiplied. He creates doubt in characterization of generic text, a strongly digressive and paratextual text. He tries to give a reading to a narrative creole telling in a poetic compromise – the oralture – where written and oral collide, where a more personal aesthetic struggles in a more dominant one. The staging of the characters ‘speech is the place of a scriptural and literary negotiation: the statements highlight the marriage of heuristic fiction and diction, but also their intimate interaction which implicit enunciation – in a Bakhtinian sense of the theory of enunciation – that reflect the author's specific ideological commitment. In his polyphonic narration, Chamoiseau attempts to retrieve a subject free from horrors of the present and History. He built this subject with a trivial and serious word which uses a spectrum of identity, to say and tell the community. Exchanges proliferate inside the dreams, imagination, stories or memories that his lyrics create.

This dissertation deals with the poetry of C.S.Z. Ntuli, with specific reference to themes, diction and form. The introductory chapter deals with the aim of study, the author's biographical background, the development of modern Zulu poetry, the state of critical studies in modern Zulu poetry, the scope of study and the method of approach. Chapter 2 examines the main themes manifest in the poetry of Ntuli. Chapter 3 is devoted to diction, with particular reference to imagery, compound words, ideophones and deideophonic derivatives. Comment is also made on ways in which these amplify the theme in selected poems. Chapter 4 discusses outstanding formal features and techniques including stanza formation, refrains, alliteration, parallelism, linking and rhythm. Chapter 5 concludes the study by giving observations about the quality of Ntuli's contribution to modern Zulu poetry, and by exploring some possibilities regarding future studies on the poetry of Ntuli / African Languages / M. A. (African languages)

Latin American art song is a genre primarily of the first half of the twentieth-century, when popular folklore served as the voice and inspiration of many poets and musicians. The nationalist movement served as a means of expression, each Latin American country with its own identity. There is great benefit for singers to study Spanish diction at an academic level, since it is a language already familiar to most U.S.A residents. There is a significant amount of unknown repertoire that would be very useful in the singing studio because of the language's open vowels. This repertoire can also serve as a confidence-builder to young Spanish-speaking singers at the beginning of their training. I will be focusing on the (s), (ll), and (y) sounds as pronounced in the diverse regions of Latin America; in particular, why they matter when coaching singers, and the articulators involved in each. The purpose of this study is to discuss diction differences in the repertoire, expound on its benefits for voice pedagogy, all while informing about varied options for recital programming.

Alberto Nepomuceno (1864-1920) is considered to be the father of the Brazilian art song. With a total of seventy songs, Nepomuceno revolutionized and established a new path to the Brazilian art song. His songs were innovative because they: (1) incorporated folk elements in his songs, (2) introduced Portuguese as a language acceptable in bel canto style and (3) established Brazilian songs in the tradition of the European vanguard. His approach influenced several composers including his young student Heitor Villa-Lobos (1887-1959), one of the most significant Latin American composers. The purpose of this research is to inform singers and teachers about one of Brazil's most significant art song composers, and to provide the necessary tools--Brazilian Portuguese diction guide, IPA and poem translations of the selected songs--for effective and accurate performances and interpretations.

This thesis investigates the roles played by etymology in the work of three late modernist poet-critics: W. H. Auden, J. H. Prynne, and Paul Muldoon. The relationship between poetry and etymology has a long history, but the advent of modern linguistics at the beginning of the twentieth century brought about a change in this relationship. Structuralism developed a more comprehensive condemnation of the etymological fallacy – the view that historical forms and meanings are relevant to current ones - that both isolated etymology as an abstract field of study and undermined its scientific validity. One reaction to this state of affairs has been to re-evaluate etymological discourse itself as poetic or rhetorical. But it is the tension created by what Paula Blank has called 'the quasi-disciplinarity of etymological desire' that motivates Auden, Prynne, and Muldoon's concerns with linguistic historicity. Etymological poetry encourages, even necessitates, very close reading. While this thesis accepts the challenge to read arguably too closely, it also examines the limits of such an approach and its implications for the relationship between poetry and criticism. The first three chapters consider how Auden, Prynne, and Muldoon invoke etymologies in their own criticism, and how etymology affects the ways their poetry may be said to communicate. The second three develop these analyses into new interpretations of commonly debated aspects of their work: Auden's landscape poetry, Prynne's lyricism, and Muldoon's onomastics. It is argued that the fact of obsolescence is key to the etymological poetic; obsolete forms and meanings make poetry difficult, but in the process they intimate that a truer way of representing the world may be (re)discovered. All three poet-critics confront and absorb the consequences of etymological obscurity. Their preoccupation with the history of words is self-consciously and unavoidably pedantic, and it is this pedantry that plays the most significant role in the poetic power they accord to etymology.