Thesis (D.M.A.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 102-103). Available also in a digital version from Dissertation Abstracts.

Treatise (D.M.A.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 102-103). Available also from UMI Company.

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This study focuses on analyzing and discussing the interpretation of the vocal chamber music Ariel by the 20th century American composer Ned Rorem. (1923-) In 1971, Rorem was commissioned to compose a vocal chamber music for soprano, clarinet and piano by one of his good friend, an American well-known soprano, Phyllis Curtin(1921) . He picked up five pieces of works from the anthology, Ariel, of Sylvia Plath(1932-1963), the American female poet, for this composition. With a tie-in of Plath¡¦s poems and the poetry¡¦s life experience, Rorem used various musical language to reveal the sorrow and frustration in the mind of a woman whose husband has affair, and also the ideology of death in these poems . This essay consists of five parts: 1. Composer Ned Rorem¡¦s life, 2. Rorem and his art songs, 3. Poet Sylvia Plath's life, 4. The composed background of the vocal chamber music, Ariel, 5. Analysis and interpretations of the five lyrics and songs of Ariel. Through my study of Ned Rorem¡¦s Ariel, I hope to assist the readers having a better understanding to this work, as well as providing useful ideas for the interpreta-tion.

This document is the result of the research done in preparation for the two thesis-recitals given in partial fulfillment of the requirements for the degree of Master of Music Performance. The recitals and the document are devoted to selected art song composers from Great Britain, the United States, and Canada. The purpose of the research was to obtain a historical and stylistic understanding of the repertoire to be performed in the thesis-recitals. The methodology used for the elaboration of this document included review of relevant literature, score analysis, listening to recordings by major performers, and the preparation for performance itself. The first chapter is focused on the fact that Great Britains most distinguished composers have been influenced by musical practices from the European continent. John Dowland, Henry Purcell, Benjamin Britten, and the composers from the so-called British Musical Renaissance are taken into account. The second chapter is dedicated to three major figures in art song composition in the United States: Charles Griffes, Samuel Barber, and Ned Rorem. The chapter highlights the fact that these composers share two important features: their styles have roots in musical practices of continental Europe and today they are considered among the most truly American voices. The third chapter focuses on Jean Coulthard, Violet Archer, and R. Murray Schafer as examples of how Canadian composers have used the European artistic heritage in the process of creating their own styles. The document concludes that, in addition to creativity and personal artistic values, two other factors seem to have been important in allowing this group of composers to become models of the national voice of their own countries: a strong awareness of musical and literary heritage and an open acceptance of foreign influences.

This document is the result of the research done in preparation for the two thesis-recitals given in partial fulfillment of the requirements for the degree of Master of Music Performance. The recitals and the document are devoted to selected art song composers from Great Britain, the United States, and Canada. The purpose of the research was to obtain a historical and stylistic understanding of the repertoire to be performed in the thesis-recitals. The methodology used for the elaboration of this document included review of relevant literature, score analysis, listening to recordings by major performers, and the preparation for performance itself. The first chapter is focused on the fact that Great Britains most distinguished composers have been influenced by musical practices from the European continent. John Dowland, Henry Purcell, Benjamin Britten, and the composers from the so-called British Musical Renaissance are taken into account. The second chapter is dedicated to three major figures in art song composition in the United States: Charles Griffes, Samuel Barber, and Ned Rorem. The chapter highlights the fact that these composers share two important features: their styles have roots in musical practices of continental Europe and today they are considered among the most truly American voices. The third chapter focuses on Jean Coulthard, Violet Archer, and R. Murray Schafer as examples of how Canadian composers have used the European artistic heritage in the process of creating their own styles. The document concludes that, in addition to creativity and personal artistic values, two other factors seem to have been important in allowing this group of composers to become models of the national voice of their own countries: a strong awareness of musical and literary heritage and an open acceptance of foreign influences.

abstract: A resurgence of the American art song is underway. New art song composers such as Adam Guettel, Michael John LaChiusa, and Georgia Stitt are writing engaging and challenging songs that are contributing to this resurgence of art song among college students. College and University musical theatre programs are training performers to be versatile and successful crossover artists. Cross-training in voice is training a performer to be capable of singing many different genres of music effectively and efficiently, which in turn creates a hybrid performer. Cross-training and hybridity can also be applied to musical styles. Hybrid songs that combine musical theatre elements and classical art song elements can be used as an educational tool and create awareness in musical theatre students about the American art song genre and its origins while fostering the need to learn about various styles of vocal repertoire. American composers Leonard Bernstein and Ned Rorem influenced hybridity of classical and musical theatre genres by using their compositional knowledge of musicals and their classical studies to help create a new type of art song. In the past, academic institutions have been more accepting of composers whose careers began in classical music crossing between genres, rather than coming from a more popularized genre such as musical theatre into the classical world. Continued support in college vocal programs will only help the new hybrid form of American art song to thrive. Trained as a classical pianist and having studied poetry and text setting, Georgia Stitt understands the song structure and poetry skills necessary to write a contemporary American art song. This document will examine several of Carol Kimball’s “Component of Style” elements, explore other American composers who have created a hybrid art song form and discuss the implementation of curriculum to create versatile singers. The study will focus on three of Georgia Stitt’s art songs that fit this hybrid style and conclude with a discussion about the future of hybridity in American art song. / Dissertation/Thesis / Doctoral Dissertation Music 2018

The purpose of the document is to present Ned Rorem’s Sun (1966): Eight Poems in One Movement for Solo Voice and Orchestra. the eight songs are “To the Sun,” “Sun of the Sleepless,” “Dawn,” “Day,” “Catafalque,” “Full Many a Glorious Morning,” “Sundown Lights,” and “From What Can I Tell My Bones?” the document is divided into four main chapters: 1) Background; 2) Poet and Poem Background; 3) Musical Analysis; 4) Performance Guide. Chapter 1 contains biographical information on Ned Rorem, and basic information of the work, Sun. Here, a relationship between the eight songs is presented. Chapter 2 discusses biography of poet and background of the poem. the poetry is examined to determine the theme and to identify imagery, and metaphor. Chapter 3 offers detailed musical analysis for each of the eight songs and interludes. Chapter 4 provides performance guide which offers assistance in forming personal interpretation and brief specifies to singers who wish to perform this work. Appendix a includes tonality, difficulty, tempo, form, theme, range, and orchestration of each song and interlude. This study serves as a reference guide for performers of Sun.

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