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.

This essay introduces readers to the music of the Venezuelan composer Modesta Bor (1926-1998) and provides a resource for interpretation of her art songs for voice and piano. Bor was an important composer in Venezuela with a successful career in composition, pedagogy, and conducting. However, she is not widely known outside of Venezuela and scholarship on her art song is limited. This study seeks to fill that void by examining Bor’s twenty-nine published art songs for solo voice and piano. These works include the song cycles/collections Tres canciones infantiles para voz y piano, Canciones infantiles, Primer ciclo de romanzas para contralto y piano, Segundo ciclo de romanzas para contralto y piano, Tríptico sobre poesía cubana, and Tres canciones para mezzo-soprano y piano, as well as nine ungrouped songs. Bor’s art songs are notable for her imitation of Venezuelan folk and popular music in the vein of Figurative Nationalism, her sophisticated harmonic language, and neoclassical techniques such as ostinato and motivic variation. This essay aims to help performers begin to understand the allusions to the national music of Venezuela. Her music elevates the llanero, the common rural laborer, and comments on the social issues of her people. This essay provides a brief history of Venezuelan music, a biography of Bor, and brief biographies of the poets used. It also contributes original poetic and musical analyses of her art songs, exploring the areas of form, melody, rhythm, and harmony. Venezuelan Spanish and the lyric diction appropriate for Bor’s songs are discussed. Poetic translations, word-for-word translations, and International Phonetic Alphabet transliterations are included for all of the poetry used.

abstract: The purpose of this research is to assemble a collection of Russian Art song repertoire selected for beginner level training, with an exposition of the criteria for their appropriateness as teaching pieces. This examination defines the scope of vocal, technical, language and interpretive abilities required for the performance of Russian Art song literature. It also establishes the need for a pedagogical approach that is free from Eurocentric cultural biases against Russian language and culture. Intended as a reference for teachers and students to simplify the introduction of Russian Art song into the repertoire of the advanced secondary or beginning undergraduate student, it includes a discussion of learning priorities and challenges particular to native English speakers relative to successful Russian language lyric diction assimilation, with solutions. This study is designed to furnish material for a published edition of songs in the appropriate transpositions for high, medium and low voice including word-for- word and sense translations with IPA transcriptions, along with program notes for each piece. Repertoire is selected from the works of Alyab'yev, Gurilyov, Varlamov, Glinka, Dargomyzhsky, Tchaikovsky and Mussorgsky, as well as a few folk songs. The repertoire is grouped by difficulty and accompanied by English translations, interpretive analyses of the Russian Language poetry, and International Phonetic Alphabet (IPA) transcriptions modified for lyric diction. The degrees of difficulty are determined by vocal registration demands, word lengths and rhythmical text setting, as well as the incidences of unfamiliar phonological processes and complex consonant clusters occurring in the text. A scope and sequence chart is included, supplemented with learning objectives and teaching strategies, which organizes the repertoire according the order in which the pieces are to be taught. A palatalization guide is provided, to provide solutions for common pronunciation problems. Included in the appendices are listings of additional recommended Russian art song titles and recommended listening and viewing. / Dissertation/Thesis / Doctoral Dissertation Music 2014

abstract: Lu Pei (b. 1956) is a celebrated Chinese American composer who currently serves as a composition professor at the Shanghai Conservatory of Music. His work is known for its varied use of Chinese folk tunes. He lived in the United States a long time, which cultivated within him abundant Western musical influences. The sound of multi-ethnic elements is greatly reflected in his own music. Writing an opera has always been his ultimate dream as a composer, and after many years of work, the opera The Third of March was completed and premiered in 2018 in Guangxi. It has received wide acclaim and has been a favorite of younger listeners. Lu Pei aims to bring young people to modern music and the Chinese opera, not only using traditional Chinese musical elements, but also adopts “reinvented” modern Western musical styles, giving a new identity to the Chinese opera is the main foci of The Third of March. To prepare for my performer’s guide to The Third of March, I will discuss Lu Pei’s inspirations from the Guangxi Song Fairs, and the music and culture of the Zhuang people surrounding the date in the Chinese lunar calendar, March Third. For Westerners unfamiliar with Lu Pei’s music, I will briefly introduce the compositional blending of Western and Chinese musical styles with a section about Chinese composers active in the United States, Chen Yi (b. 1953), and Tan Dun (b. 1957). I will also include a brief outline of the history of Chinese opera development, and Lu Pei’s compositional concepts and the background of the opera The Third of March will be discussed. My performer’s guide, the primary focus of this project, will begin by stressing Lu Pei’s adoption of different Chinese folk songs and Western compositional elements. These techniques clearly gave the piece a unique stylistic identity. I will give a brief overview of the Chinese language diction in International Phonetic Alphabet. Finally, the qualities of the main arias in the opera, and some of the Chinese operatic techniques for singers, and their special effects, will be explored. / Dissertation/Thesis / Doctoral Dissertation Music 2020

A single subject, diagnosed as having severe oral apraxia and dysarthria, participated in an eight-week research experiment designed to study the effects of singing on speech articulation. A simultaneous treatment design was used in which the subject participated in both the e xperimental and control conditions. In the control condition spoken words were repeated by the subject, while in the experimental condition the words were sung. The words used were the lyrics to two popular folk songs. Articulatory accuracy (intelligibility) was judged by two graduate level speech therapists, based on audiotape samples of the subject's responses, recorded on a "Language Master" machine. Judges were also asked to rate their degree of confidence about their judgements. Results indicated significantly higher scores at the .05 level for the singing condition than for the non-singing condition. Degree of confidence ratings were similar for both conditions. It was also observed that a significantly greater number of consonant blends were correctly articulated in the singing condition than in the nonsinging condition.

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This dissertation explored the differences in federal budget communication associated with the development and passage of the Federal Budget Resolution for Fiscal Years 1999, 2000, and 2001. A computer-aided (i.e., DICTION) content analysis was completed to explore Executive, Legislature, and Agency budget communication for source-based and party-based differences. Source-based differences were explored using the variables Activity, Realism, Optimism, Commonality, Certainty, Public Interest, Budget Concepts, and Functional Budget Categories. When reviewing the findings as a whole — and taking into account the variables, data, and time period analyzed - a distinct and predominant source-based perspective was not present in the federal budget communication associated with the development of the Congressional Budget Resolution. However, it was possible to identify predominant sources for individual variables Activity, Optimism, Commonality, and Certainty. Party-based differences were explored within seven themes: the use of Lakoff's value language; discussions of campaign actors; coalition building rhetoric; moral virtue and entrepreneurialism rhetoric; language of order, efficiency and unity; public interest; and, accusatory language. Variables included Liberal Language, Conservative Language, Party References, Voter References, Leader References, Commonality, Familiarity, Realism, Human Interest, Rapport, Praise, Inspiration, Liberation, Tenacity, Communication, Denial, Public Interest, Blame, and Pessimism. The analysis of party-based differences revealed that Democrats were more likely to incorporate language associated with the following variables: Liberal Language, Conservative Language, Party References, Voter References, Leader References, Human Interest, Rapport, Liberation, Blame, and Pessimism. Republicans were more likely to incorporate language associated with Familiarity, Realism, Tenacity, Communication, and Denial. This research illustrates that within our political institutions generally, and the budget specifically, there are significant source-based and party-based differences in the goals and values communicated by the actors within the federal budget process. If it is possible to gain a better understanding of how actors within this key process communicate, public administrators will be better equipped to engage each other in an honest dialogue and debate that facilitates agreement and understanding. Until source-based and party-based communication barriers have been broken down, the negative tenor in political communication and the public's apathy and frustration towards the political process will continue. / Ph. D.

The English diction texts by Madeleine Marshall and Kathryn LaBouff are two ofthe most acclaimed manuals on singing in this language. Differences in style between the two have separated proponents to be primarily devoted to one or the other. An in-depth study, comparing the precepts of both authors, and applying their principles, has resulted in an understanding of their common ground, as well as the need for the more comprehensive information, included by LaBouff, on singing in the dialect of American Standard, and changes in current Received Pronunciation, for British works, and Mid-Atlantic dialect, for English language works not specifically North American or British. Chapter 1 introduces Marshall and The Singer’s Manual of English Diction, and LaBouff and Singing and Communicating in English. An overview of selected works from Opera America’s resources exemplifies the need for three dialects in standardized English training. Chapter 2 reviews notational and diction resources, and use of the International Phonetic Association’s alphabet (IPA). Chapter 3 directly compares Marshall and LaBouff’s views of the importance of the unstressed syllable, often schwa [ә] or open I [ɪ], as vital to allowing the audience to understand the flow of the sung text, and contrasts their differences regarding < r >. Chapter 4 discusses observations in applying the tenets with singers, focusing on three arias coached for this dissertation. Chapter 5 states conclusions and opportunities for further research. Figures include materials from the Juilliard School Archives. Appendices include interviews.