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Through examining Judith Weir’s woman.life.song (2000), the work presented in this written reflection is centered on the power of collaboration and context to create meaningful art and music that express important and often underrepresented experiences. Through a musical and sociological analysis of this piece, it is examined how the personal is political and how the creation of music and art are therefore inherently political projects. This paper argues that musicians have a responsibility to consciously select our repertoire: a conscience based upon an understanding of intersectionality. Such consciousness must take into account structures of sexism and racism, which positions music in its socio-political context and actively challenges the concept of “quality” as it is constructed in the art music canon. Placing the composer and authors within their broader socio-political contexts, it is argued that lifting pieces such woman.life.song are important contributions of a musician’s participation in music. This paper draws upon work in sociology that centers on identity to examine how structures of power impact the voices that are heard and that are represented in the musical canon. / <p><strong>Kristine Nowlain, sopran</strong></p><p></p><p>Gustave Charpentier (1860-1956)</p><p>Depuis le jour</p><p>Ur <em>Louise</em>(Louise)</p><p>Libretto av G. Charpentier</p><p>Albert Dahllöf, piano</p><p> </p><p>Mario Castelnuovo-Tedesco (1895-1968)</p><p><em>The Divan of Moses-Ibn-Ezra</em></p><p>1. When the morning of life has passed</p><p>2. The dove that nests in the tree-top</p><p>3. Wrung with anguish</p><p>Text av Moses-Ibn-Ezra (1058-1138) </p><p>Gustav Sondén, gitarr</p><p> </p><p> </p><p>Heitor Villa-Lobos (1887-1959)</p><p>Bachianas Brasileiras, no. 5 (Aria)</p><p>Text av Ruth V. Corrêa </p><p>Gustav Sondén, gitarr</p><p> </p><p> </p><p>Åke Uddén (1903-1987)</p><p><em>Tre sånger ur ”Les Chanson de Bilitis” </em></p><p>1. Tendresses</p><p>3. Chanson</p><p>Text av Pierre Louÿs (1870-1925)</p><p>Johanna Johnsson, piano</p><p> </p><p>Gösta Nyström (1890-1966)</p><p><em>På Reveln</em></p><p>3. Havet Sjunger</p><p>Text av Ebba Lindqvist (1908-1995)</p><p>Johanna Johnsson, piano</p><p> </p><p>Rebecca Clarke (1886-1979)</p><p>The Seal Man</p><p>Text ur <em>A Mainsail Haul </em>av John Masefield (1878-1967)</p><p>Albert Dahllöf, piano</p><p> </p><p>W.A. Mozart (1756-1791)</p><p>Ach, ich Fühl’s</p><p>Ur <em>Die Zauberflöte</em>(Pamina)</p><p>Libretto av Emanuel Schikaneder (1751-1812)</p><p>KMH Kammarorkester</p><p> </p><p>Judith Weir (f. 1954)</p><p><em>woman.life.song</em></p><p>1c. Edge (text av Toni Morrison, f. 1931)</p><p>2. Eve Remembering (text av Toni Morrison)</p><p>3b. The Mothership: when a good mother sails from this world (Stave II) – (text av Clarissa Pinkola Estés, f. 1945)</p><p>KMH Kammarorkester: </p><p>Sofia Winiarski, dirigent</p><p>Albert Dahllöf, piano</p><p>Andreas Nyström, slagverk</p><p>Astrid le Clercq, klarinett</p><p>Catrin Spångberg Johansson, altflöjt</p><p>Enno Leggedör, viola</p><p>Gustav Wetterbrandt, basklarinett</p><p>Henrik Wassenius, slagverk</p><p>Hugo Olsson, klarinett</p><p>Isabel Godau, violin</p><p>Johanna Moraeus, violin</p><p>Kajsa Nilsson, flöjt</p><p>Klara Källström, cello</p><p>Miia Roiko-Jokela, flöjt</p><p>Miriam Liljefors, harpa</p><p>Moa Nissfolk, gitarr</p><p>Ragnhild Kvist, viola</p><p>Simon Landqvist, slagverk</p><p>Svante Söderqvist, kontrabas</p><p>Viktoria Hillerud, cello</p><p> </p>

Abstract This research explored professional singers’ pronunciation of German in Frauenliebe und Leben, a song cycle, composed in 1840 by Robert Schumann (1810–1856). Adopting a two-fold approach, the thesis examined pronunciation from the viewpoints of normative German pronunciation and vocal pedagogy, paying special attention to the relationship between the two sets of norms. Normative German pronunciation is based on ‘reine Hochlautung’ as defined by Theodor Siebs, as well as on his instructions to classical singers. Norms of pronunciation used in vocal pedagogy were derived from 11 German pronunciation manuals for classical singers. At the centre of this study were 11 elements of the German language: the phonemes /s/, /r/, /b/, /d/ and /g/, the suffix -ig, double consonants, connecting consonants, the letter combination ng, liaison and diphthongs in a melismatic setting. Twelve professional singers’ – Anne Sofie von Otter, Barbara Bonney, Brigitte Fassbaender, Elly Ameling, Elisabeth Grümmer, Irmgard Seefried, Janet Baker, Jessye Norman, Kathleen Ferrier, Soile Isokoski, Marjana Lipovšek, Tamara Takács – pronunciation of these elements was studied via their recording of Frauenliebe und Leben between 1950 and 1997. Both descriptive statistical analysis methods and hierarchical cluster analysis were applied to the data. A reliability analysis was conducted using intra-category correlations and relative frequencies. This analysis indicated a reasonable degree of reliability. Descriptive statistical analysis methods yielded the result that the actual pronunciation of the professional singers, as evidenced by their recordings, was considerably more varied than what could be expected on the basis of normative or pedagogical norms. Hierarchical cluster analysis, too, showed that the professional singers shared the same category to a moderate degree. We may conclude that vocal pedagogical theory needs to be further developed, because pedagogical norms for pronunciation proved partially confusing and difficult to grasp. In addition, specific attention must be given to source critique. The actual pronunciation of professional singers challenges singing instructors to reflect on how they teach German pronunciation and what they can do to help their students develop the skills required for a critical listening of recordings. / Tiivistelmä Eksperttilaulajien saksan kielen ääntämistä havainnoitiin Robert Schumannin (1810–1856) vuonna 1840 säveltämässä laulusarjassa Frauenliebe und Leben, ja ääntämistä tutkittiin suhteessa sekä saksan kirjakielen ääntämisnormistoon että pedagogiseen ääntämisnormistoon. Tutkimuksessa syvennyttiin myös ääntämisnormistojen välisen suhteen tarkasteluun. Saksan kirjakielen ääntämisnormisto perustui Theodor Siebsin reine Hochlautung -ääntämistapaan sekä Siebsin klassisen laulun ohjeistuksiin. Pedagoginen ääntämisnormisto eli klassisille laulajille osoitetut saksan kielen ääntämisen oppaat oli rajattu yhteentoista teokseen. Tutkittavana oli yksitoista saksan kielen elementtiä: konsonantit s, r, b, d, g, suffiksi -ig, kirjainyhdistelmä ng, kaksoiskonsonantit, konsonanttien yhdistäminen, vokaalien sitominen ja diftongit. Laulusarjan levyttäneitä eksperttilaulajia oli kaksitoista: Anne Sofie von Otter, Barbara Bonney, Brigitte Fassbaender, Elly Ameling, Elisabeth Grümmer, Irmgard Seefried, Janet Baker, Jessye Norman, Kathleen Ferrier, Soile Isokoski, Marjana Lipovšek ja Tamara Takács. Äänitteet olivat vuosien 1950 ja 1997 väliseltä ajalta. Tutkimuksessa käytettiin perinteisiä kuvailevia tilastollisia analyysimenetelmiä ja hierarkkista ryhmittelyanalyysia. Aineiston luotettavuutta tarkasteltiin reliabiliteettianalyysin avulla. Reliabiliteettianalyysi osoitti, että aineistolle saavutettiin kohtuullinen luotettavuus. Kuvailevien tilastollisten analyysimenetelmien tuloksena oli havainto, että eksperttilaulajien ääntäminen äänitteissä oli huomattavasti monimuotoisempaa kuin saksan kirjakielen ja pedagoginen ääntämisnormisto antoivat olettaa. Hierarkkinen ryhmittelyanalyysi puolestaan osoitti, että eksperttilaulajien sijoittuminen samaan ryhmään oli maltillista. Tutkimus vahvistaa käsitystä, että laulupedagogista teoriaa tulee tarkastella dynaamisena, alati muuttuvana ilmiönä. Tutkimuksen perusteella myös havaitaan, että eksperttilaulajien ääntäminen noudattaa laulupedagogiikassa käytettyjä ääntämisen ohjeistuksia vain osin. Eksperttilaulajien ääntämisen käytäntö täten haastaa laulupedagogit pohtimaan sitä, kuinka he itse opettavat saksan kieltä, ja sitä, kuinka he liittävät opetustyöhönsä äänitteiden kriittisen kuuntelemisen taidon ja lauluoppaiden kriittisen käytön.

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Die zyklische Anordnung von György Kurtágs Kafka-Fragmenten op. 24, wie sie in der gedruckten Partitur erscheint, ist kein direktes Ergebnis des Kompositionsprozesses, sondern basiert auf einer vom Musikwissenschaftler András Wilheim vorgeschlagenen Reihenfolge. Dieser Umstand erlaubt es, das Werk sowohl als Fragmentsammlung, die keinerlei Verkettungskonzept folgt, als auch als Zyklus, der durch genau kalkulierte Gegenüberstellung seiner Einzelstücke entsteht, zu betrachten. Mithilfe einer Detailanalyse zur architektonischen Form der unterschiedlichen Fragmente wird untersucht, inwieweit verschiedene aus der Analyse abgeleitete Formkategorien auf diese beiden formalen Konzepte jeweils einheitsstiftend wirken können. Des Weiteren geht dieser Beitrag der Frage nach, auf welche Weise die Anordnung und Verbindung der einzelnen Fragmente innerhalb des Zyklus durch ihre architektonische Form und ihre Rahmentöne begründbar sind. / The cyclic arrangement of György Kurtág’s Kafka-Fragmente op. 24 as it appears in the printed score is not a direct product of the compositional process but based on a layout suggested by musicologist András Wilheim. This circumstance makes possible an analysis of the work both as a collection of fragments, disregarding any concept of concatenation, as well as a cycle featuring a strictly calculated juxtaposition of its individual parts. Following the results of a previous detailed study of each fragment’s architectonic form, this paper investigates how different formal categories derived from analysis can act as a unifying factor for both concepts. Furthermore, this essay aims to examine how the positioning and interconnection of the individual fragments within the cycle can possibly be explained by their architectonic form as well as their framing tones.

The song genre constitutes a significant part of J. B. Foertser's work (around 350 songs). In the Czech musical context, Foerster is along with Vítězslav Novák considered a founder of modern Czech song. Despite its unquestionable significance, Foerster's song output remains an unexplored area in musicology. The aim of this diploma thesis is to contribute to the body of scholarship devoted to Foerster by focusing on this area of his work, which has not received adequate critical attention. The main part of the thesis consists of detailed musical-textual analyses of the song cycle Šest písní na básně Puškinovy op. 161 (1937). Through the analyses, the thesis examines the composer's approach to the setting texts to music and points out the qualities of his work. The discussion gives an overview of Foerster's song output and outlines the main critical concerns in this area of his work. The last but one chapter of the thesis compares opus 161 with selected Foerster's song cycles from his previous work periods and an attempt is made to put the opus into the context of the composer's song output as a whole. In the conclusion, opus 161 is discussed in the context of the Czech and, more generally, European song productions.

Master of Music / School of Music, Theatre, and Dance / Reginald L. Pittman / This Master’s Report is an examination of four vocal song cycles for the baritone voice. Song cycles researched, interpreted, and performed include An die ferne Geliebte (1816) by Ludwig van Beethoven, Sei Romanze (1838) by Giuseppe Verdi, Don Quichotte à Dulcinée (1932-1933) by Maurice Ravel, and Let Us Garlands Bring (1938-1942) by Gerald Finzi. In this report you will find information on the history of vocal song cycles, biographical information about composers and poets/lyricists, compositional analysis, historical breakdowns of the musical periods, musical and poetic interpretations, original texts and English translations, pedagogical and performance practice insights, and never before published transpositions of “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” and “Nell’orror di note oscura” from Giuseppe Verdi’s Sei Romanze (1838). Songs in this report are: “Auf dem Hügel sitz ich spähend,” “Wo die Berge so blau,” “Leichte Segler in den Höhen,” “Diese Wolken in den Höhen,” “Es kehret der Maien, es blühet die Au,” and “Nimm sie hin den diese Lieder” from An die ferne Geliebte by Ludwig an Beethoven. “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” “In solitaria stanza,” and “Nell’orror di note oscura” from Sei Romanze by Giuseppe Verdi. “Chanson romanesque,” “Chanson épique,” and “Chanson à boire” from Don Quichotte à Dulcinée by Maurice Ravel. “Come away, come away, death,” “Who is Silvia?,” “Fear no more the heat o’ the sun,” “O Mistress Mine,” and “It was a lover and his lass” from Let Us Garlands Bring by Gerald Finzi. The graduate recital was presented in partial fulfillment of the requirements for the Master of Music degree in vocal performance on April 9th, 2017 in All Faiths Chapel on the campus of Kansas State University. The recital featured the talents of baritone Matthew D. Cyphert and pianist Mitchell S. Jerko.