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Diss.--Tübingen, 2000. / Bibliogr. p. 321-340. Index.

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Carl Loewe (1796-1869) was a prolific composer of works for voice and piano with an output exceeding 400 pieces. Just as Schubert pioneered Lieder as a new genre of art music in the nineteenth century, Loewe can be credited for his comparable innovation with the ballad, a narrative song that depicts a story. Though Loewe is often considered a conservative musical figure in the nineteenth century, later romantic composers like Richard Wagner and Hugo Wolf held his ballads in high regard, as they show Loewe's compositional originality in boldly producing drama through the piano-singer format. This document displays how Loewe in his ballad cycle Gregor auf dem Stein, Op. 38 (1834) creates a continuous musical drama to enhance a theological legend. This work is an example of how Loewe foreshadows aspects of later German Romanticism, more fully realized by Wagner and Wolf, through use of musical and dramatic continuity, progressive tonality, motives, and declamatory vocal style.

Kurt Weill (1900-1950) began his compositional career in Berlin and left his legacy on the American Broadway stage. This study includes an overview of the influences of Lieder composers including Schumann and Strauss on Weill's first song cycle Ofrah's Lieder (1916) and the 20th century influences of Schoenberg and Stravinsky on his chamber music cycle Frauentanz (1923). This study examines how the Weill juvenilia employs diatonic melodies, mood painting, and the integration of vocal and piano parts emulating 19th century models. Next, this study presents ways in which Weill's Frauentanz displays 20th century techniques such as rhythmic texture, non-diatonic melodies, and semi-tonal instability. The Frauentanz vocal line is examined as instrumental in nature, adding textural importance to the interplay of the text with instrumental melodic motives. Kurt Weill's interest in vocal music and modernism directly influenced his legendary theatrical works. His traditional German musical training, rooted in counterpoint, combined with his melodic and modern ingenuity form the basis of the "Weill Style" of theatre music, for which he earned international recognition.

Metric dissonance in Brahms’s music is not an unfamiliar topic. Hemiola, offbeat accents, and syncopations are Brahms’s common metric strategies. These metric manipulations often facilitate a displacement between the audible and the notated downbeats, leading many scholars to question the importance of Brahms’s notated meters and notated barlines. However, Brahms does not hesitate to change the notated meter when he wants a new one to prevail, especially in his solo songs. Out of 194 songs for solo voice with piano accompaniment written and published during Brahms’s life time, 41 of them involve notated meter changes. This dissertation offers a new perspective on the function and expressive effect of notated meter changes in Brahms’s songs—a topic that has gone largely unexplored in current scholarship on rhythm and meter. I outline three types of meter changes: (1) the brief appearance of a new meter or meters; (2) different meters for sections with different affects; (3) the quick and regular alternation of triple and duple/quadruple meters, a technique typical in Slovakian and Bohemian dances, which Brahms employed to preserve the composite rhythm in folk or folk-like poetry. A close analysis of the notated meter changes in Brahms’s songs reveals how much his careful attention to the notated meter reflects his sensitivity to the pacing of music and words. Drawing upon poetic prosody and metric analysis, this dissertation shows how this pervasive but underexamined aspect of Brahms’s songwriting style relates to both the sound and sense of the poems he sets.

Anton Webern’s Op. 18 stands at nearly the exact center of his published work. Though it was in his Op. 17 that Webern began working with ordered pitches, there are some logistic struggles evident in his diversions from the row throughout that work. It is in Op. 18 that Webern first consistently uses a row in its complete, unchanged form. His increasing mastery of this style of composition is shown throughout Op. 18, a collection of three songs; the first with a single row repeated with no permutations of any kind; in the 2nd song, inversions and retrograde are introduced; and in the final song Webern experiments with simultaneous unique row forms for each instrument. These songs feature a guitar, E-flat clarinet, and soprano voice, with the first song a setting of a folk text. In this dissertation I argue that Webern’s later style–his orchestration, harmonic progressions, and formal structures–grows out of his choice of guitar as harmonic foundation in Op. 18. In my analysis I look at row construction and usage, as well as orchestrational considerations, folk implications, text setting, and specific voice-leading properties of Webern’s Opp. 18, 25, and 30. In so doing I will uncover a link between Webern’s pivotal Op. 18 song cycle, with the guitar playing a central role, and many of his compositional choices in his later works. My analysis looks at Webern’s works through the lens of a guitarist. I will explore the piano accompaniment of Op. 25 as if it were written for guitar, and do the same for his Op. 30 Variations for Orchestra. These analyses will show that his later works, and later style in general, have an underlying idiomatic character of guitar music. I argue that Webern’s late works feature, as a result, are his own version of folk music through their simplicity, clarity of form, and overall encapsulation of the sound of the guitar.

Research shows young singers are entering the professional world without the necessary skills to succeed. Students graduate from their respective colleges, yet lack experience in working with an orchestra, knowledge of dramatic or character analysis, or the stamina to maintain a vigorous rehearsal schedule. Incorporating character analysis skills along with language and dramatic training into the weekly private lesson will ensure the removal of the gaps in the curriculum. Through complete role study, young singers will have the ability to practice and refine their skills once they are vocally mature enough to perform an operatic role. The role of Sophie in Der Rosenkavalier by Richard Strauss is a challenging role requiring musical and dramatic skill. Students can examine and perform Strauss Lieder identifying similarities in the compositional style, dramatic elements, and musical requirements to prepare for the singing of the role of Sophie. This paper uses practical examples of various Strauss Lieder to demonstrate the pedagogical similarities between the role of Sophie and Strauss' song compositions.

Abstract Richard Strauss (1864-1949) was the one of excellent post-romancticism composers. He composed approximately 200 songs. This study mainly discusses Mädchenblumen, op. 22, accomplished in his middle composition period. For the purpose of this study with Strauss making use of lyric, expressive melodies and techniques of New German School, we can examine the kinship of vocal, poems, and accompaniment. The lecture-recital document contains three main sections: the biographical information about Richard Strauss, the musical characteristics of Richard Strauss¡¦ Lieder, and a performance analysis of Mädchenblumen. In these four songs, making a lot of tone colors by increasing chromatic techniques and paying much attention to the declamatory, lyric, continuous, leaping melodies, are all showed Strauss¡¦s achievement of Mädchenblumen.

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