This diploma thesis deals with Moravian Duets op. 32 written by Antonín Dvořák. Including comparsion of manuscript and contemporary edition of notation and comprehensive chapter which analyse recordings of this piece. Recordings are from different types of choirs. They are represented by children's choirs, women choirs and by female component of mixed choirs. Next chapters focus on analysis of each duet from perspective of interpretation, draw attention to difficult parts and gives recommendations for the interpretation. The analysis is mainly focused on the difficulty of interpretation in terms of vocal technique. The final chapter describes vocal exercises and recommendations for easier practicing and more convincing interpretation of this piece.

This document contains scores for the works performed at a recital of compositions by Kirsten Carlson at 8:00 p.m. April 21, 1995 at the University of British Columbia Recital Hall. Model-Deviation is written for solo flute and was composed in 1992. Those That Follow is written for two flutes and was composed in 1993. The Distance is written for soprano voice, spoken voice, violin and cello and was composed in 1993. The text is by Kirsten Carlson. For will is written for flute and trumpet and was originally composed in 1994 and revised in 1995. This is a photograph of me is written for soprano, clarinet, bassoon and violin. It was composed in 1995 with text by Margaret Atwood. The Swimmer is written for two soprano voices, flute, clarinet, two violins, viola, and cello. It was composed during 1994-95 with text by the composer. We Are Still One is written for 10 flutes and was composed in 1994.

Les soins biparentaux impliquent que mâles et femelles travaillent ensemble et ajustent leur comportement l’un à l’autre. De nombreuses études théoriques et empiriques se sont intéressées à la façon dont un parent réagit face à une augmentation ou une diminution de l’effort parental de son partenaire. Mais très peu se sont intéressées aux mécanismes qui permettent cet ajustement. C’est chez les oiseaux qu’on trouve le plus d’espèces à soins biparentaux. Parce que ce sont des animaux qui produisent beaucoup de sons, la communication acoustique pourrait jouer un rôle dans l’organisation des soins parentaux. Le but de cette thèse est de contribuer à vérifier cette hypothèse en comparant deux espèces d’oiseaux qui diffèrent dans la façon dont le mâle et la femelle se partagent les soins parentaux. Chez le diamant mandarin, le mâle et la femelle participent tous les deux à l’incubation des oeufs tandis que c’est la femelle seule qui se charge de cette tâche chez la mésange charbonnière. Cette dernière est alors nourrie en partie par le mâle. Chez ces deux espèces, j’ai d’abord observé en milieu naturel dans quels contextes les parents communiquent avec des sons au nid etquelle est la structure de leurs échanges vocaux. J’ai pu ainsi formuler des premières hypothèses sur les fonctions de cette communication. J’ai ensuite testé expérimentalement une de ces hypothèses pour chaque espèce. Chez le diamant mandarin, j’ai montré que la communication au nid permet aux parents de se partager le temps d’incubation. Chez la mésange charbonnière la communication au nid permet à la femelle d’indiquer ses besoins en nourriture au mâle. La communication acoustique joue donc bien un rôle dans l’organisation des soins parentaux chez ces deux espèces et pourrait être un élément clef dans les études futures s’intéressant à l’ajustement de l’effort parental entre les mâles et les femelles / Biparental care involves that male and female work as a team and each individual adjusts its behaviour to that of its partner. Many theoretical and empirical studies have investigated how each parent adjusts its behaviour to an increase or a decrease in the parental effort of its partner. But fewer have explored the mechanism allowing this adjustment. Biparental care is widespread in birds. Because birds are vocal animals, acoustic communication may play a role in organizing parental care. The aim of this thesis is to contribute to answer this question by comparing two bird species that differ in sex roles during parental care. In the zebra finch, both male and female incubate the eggs, whereas in the great tit, the female incubates alone and is partly fed by the male. In both species, I first observed in which contexts parents communicate with sounds at the nest and described the structure of their vocal exchanges. This allowed me to formulate hypotheses on the functions of this communication. Then, I experimentally tested one of these hypotheses for each species. In the zebra finch, I demonstrated that communication at the nest allows the pair to share incubation time. In the great tit, communication at the nest allows the female to communicate her needs for food to her mate. Acoustic communication thus plays a role in organizing parental care in these two species and could be a key factor in future studies on the adjustment of parental effort between males and females

This document contains scores for the works performed at a recital of compositions by Kirsten Carlson at 8:00 p.m. April 21, 1995 at the University of British Columbia Recital Hall. Model-Deviation is written for solo flute and was composed in 1992. Those That Follow is written for two flutes and was composed in 1993. The Distance is written for soprano voice, spoken voice, violin and cello and was composed in 1993. The text is by Kirsten Carlson. For will is written for flute and trumpet and was originally composed in 1994 and revised in 1995. This is a photograph of me is written for soprano, clarinet, bassoon and violin. It was composed in 1995 with text by Margaret Atwood. The Swimmer is written for two soprano voices, flute, clarinet, two violins, viola, and cello. It was composed during 1994-95 with text by the composer. We Are Still One is written for 10 flutes and was composed in 1994. / Arts, Faculty of / Music, School of / Sound recording included. / Graduate

Sonatas for oboe in the classical period are classified as 'solo sonatas.' These 'solo sonatas,' which originated in the baroque period, consist of a melody instrument and basso continuo. Solo sonatas for oboe, which account for a sizeable repertory in the baroque period, continued to be composed in the classical period but in the baroque style. The basso continuo setting for sonatas gradually disappeared toward the end of the period, developing into the duo sonata in which a solo instrument and piano played an equal role in presenting melodic material. While the fully developed classical sonata was written for piano alone, and duos for violin and piano and cello and piano, the sonatas for oboe did not make this transition. The duo sonatas for oboe and piano by Jacques Christian Michel Widerkehr are exceptions to the baroque style 'solo sonatas.' Widerkehr's sonatas are the only true 'duo sonatas' for oboe and piano written in the classical period. François Devienne's sonatas deserve special recognition as the only 'solo sonatas' for oboe written predominantly in the classical style. In addition to presenting an overview of sonatas for oboe, biographical information on Widerkehr and Devienne, current state of research of Widerkehr's sonatas, changes in performance venue and instrumental design of the oboe, an examination of Widerkehr's Duos for Oboe and Piano in E Minor and C Major will follow. Examples of classical style elements and procedures are identified in each analysis with an emphasis on the duo setting. Devienne's Sonata in G Major, Op. 71, No. 1, serves as an example of his six oboe sonatas. Although the work is composed in a basso continuo setting, examples of classical style characteristics are identified in an analysis of the three movements.

Vocal duets have had a long history in the Western classical music tradition. Their use as a teaching resource can be traced back to the Renaissance, where duets were used for the development of singing, performance, and musicianship. In the late 19th and all of the 20th centuries, this pathway of vocal pedagogy has markedly declined. This study proposes a reintroduction of this methodology of teaching, asserting that it provides the collegiate vocal student with maximum opportunity for growth and development in terms of technique, musicianship, ensemble skills, and performance development. Four vocal duets ("La pesca," "Il brindisi," "Il gallop," and "La caccia") of Saverio Mercadante (1795-1870) serve as the point of discussion. These songs from Les soirées italiennes (C.1836), which are representative of the salon culture of the 19th century, are given detailed attention through a discussion of their pedagogical value. Since they are long out of print, a new performance edition is presented.

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This dissertation is a tonal modular work for soprano, mezzo-soprano, tenor, and baritone solo voices and large orchestra (3343, 4331, Timp.+4, Hp., Pno., Strings) with an accompanying narrative. The text is drawn from eighteen of Henry Wadsworth Longfellow’s sonnets. This work consists of four interlocking song cycles, one for each solo voice, and two added songs for the combination of two or more of the solo voices. There are shared tonal and thematic relationships across the work as a whole as well as within and among the individual song cycles. The unique modular nature of the work allows for performance of the whole, but also allows for extracting the individual song cycles—or even individual sonnets from the work as free-standing pieces, complete in themselves. The modular nature of this work makes it attractive as a programming option for orchestras and choirs with featured guest soloists, and also as an addition to singers’ repertoires. Chapters 3–7 of the narrative address the songs in each individual module or cycle, thus providing a useful reference for a singer wishing to program one or more of the songs for her or his voice classification. The complete transposed orchestral score follows the conclusion of the narrative. This dissertation holds potentially helpful information for research on the topics of contemporary classical music, Indiana composers, and/or orchestral song cycles. / School of Music

The purpose of this study is to explore the literature for textless voice and woodwind instruments. The primary focus concerns the timbral and ensemble possibilities exploited in three twentieth-century works in which the voice is treated as an instrument i.e., without the usual preoccupation with textual meaning. An historical overview of vocal works with obbligato woodwinds and concerted works for textless voice serves as an introductory chapter. The variables of voice and instrument acoustical makeup, vocal vowel formation and instrumental voicings, volume, vibrato, resultant tones, range, and extended techniques (fluttertongue, special vibrato demands, non-vibrato, etc.) are the focus of the performance considerations for this study. Over thirty twentieth-century textless works for voice and at least one woodwind instrument were located. The three, chosen for this study represent different periods in the century, and present contrasting styles and musical merit: Aria (1931) by Jacques Ibert, Three Vocalises (1958) by Ralph Vaughan Williams, and Duos I (1976) by Nancy Chance. A style and performance analysis of these works with pertinent research on the composers is presented. Appendices include an annotated bibliography of selected works for the medium, a written interview with Nancy Chance, and performance notes provided by the composer, concerning Duos I.