Thesis (Ph. D.)--University of Chicago, Department of Music, June 2000. / For soprano and orchestra. Includes performance notes. Also available on the Internet.

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 177-188).

Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains 1 score (vii, 55 p.) For flute/alto flute, oboe/English horn, B♭/bass clarinet, bassoon, horn, two C trumpets, two trombones, vibraphone, harp, two violins, viola, cello, soprano, and electronic sound effects. "The soprano sings an original poem translated to Klingon with the assistance of Klingon-language expert Dr. d'Armond Spears and linguist Dr. Marc Okrand, creator of the official language."--Abstract. Text of song also printed separately in English and Klingon (with IPA pronunciation) on p. vi. Includes bibliographical references.

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Thesis (M.A.). / Written for the Faculty of Music. Title from title page of PDF (viewed 2008/07/24). Includes bibliographical references.

For Unto Us is a one movement work for soprano and orchestra. The text, by the composer, describes the thoughts and feelings of Mary, the mother of Jesus, as she watches the crucifixion. Mary's process of faith is traced through the sequence of dramatic events which proceed and follow the crucifixion. The work explores symbolic instrumentation, juxtaposition of harmonic languages, and extended techniques for performance and notation. The setting of the text combines traditional operatic idioms with new elements in the music. The duration of this dramatic, quasi-operatic scene is approximately nine minutes.

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

For his first work composed without Schoenberg's supervision, Berg chose to set five short poems by his friend and intellectual idol, the controversial poet Peter Altenberg. Carrying the title Filnf Orchesterlieder nach Ansichtskarten-Texten von Peter Altenberg (1912), the cycle is at once aphoristic (with respect to the songs' duration) and titanic (with respect to their orchestration and motivic density). But the title invites the question: what imagery might the composer have hoped to illustrate with these musical postcards? This thesis investigates text-music relations in Berg's opus 4 with the objective of showing that the music's structure, far from being semantically neutral, participates actively in the création of rich poetic imagery anchored in the socio-cultural context of turn-of-the-century Vienna. Previous studies focus on the work's cyclic motives its interval-cycle substructure. The present study focuses on text-music relations and voice leading - the contrapuntal and harmonie procedures which govern the music's surface and determine its deep structure. It is shown that the voice-leading structures of the individual lieder - in both local detail and at a more broadly conceptual level - give form, meaning, and nuance to the poetic image that emerges in each song, and help define the different facets—physical, emotional, and spiritual — of the protagonist that inhabits them.

Thesis (Ph.D.) --University of Adelaide, Elder Conservatorium of Music, 2008. / "October 2007" Bibliography: leaves 168-170. Also available in print form.

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