Includes bibliographical references (leaves 96-100). / The present study, which will investigate three works of Benjamin Britten for mezzosopranos, is envisaged as an aid to interpreters wishing to gain further insights into these works. The study focuses on three vocal works of varying genre: The Rape of Lucretia, A Charm of Lullabies, and Phaedra. The investigation of each work starts with the historical background, in wh ich Britten's life and career at the time of the work is discussed briefly, including reviews of the work. The performers and librettists, who were involved in the composition, are also discussed. Secondly, an analytical survey is done on the text and music for each work. Brief background notes on the writers and poets, and on their style, influences and intentions, are included. The historical background of each text is explored, as well as the role of the character within the narrative, dramatic or literary/poetic context. The musical characteristics of each work are highlighted, which reveal stylistic aspects of Britten's writing. The influence of each work's genre (chamber opera, song cycle and solo cantata) on the interpretation of text and character is discussed, as well as how the voice is accompanied. Lastly, a comparative survey of different recorded portrayals of each work looks at the background history, and approach of the various performers, as well as their advice to other performers.

Includes bibliographical references (leaves 68-71). / ...a serendipitous discovery of the Aissawa Order of Morocco ... lead me to become interested in the music of Morocco and particularly the use of oboes by the people of that country. I had already heard recordings of the Master Musicians of Jajouka, another Moroccan group who uses oboes, but saw that this group is already very well documented, and hoped that a study of the Aissawa would be more interesting because of their relative obscurity. They are a particularly interesting group because they are one of the few Sufi Orders that use the ghaita in their spiritual ceremonies (even though it is used widely as a secular ceremonial instrument), and this fact tempted me to explore the importance of the instrument to the group.