Poetry in music is the main discussion in this essay. There are three ways to connect music and poem. First, represent the emotion of poems through music; second, parallel the syllables and linguistic intonation to rhythm and pitches; third, transform the methods of writing poems into the methods of composing music. ¡§Remember¡¨ and ¡§The Magic Carousal¡¨ are used as examples in this essay. In ¡§Remember,¡¨ the composer semantically transfers the poetry into his/her music by directly borrowing and engaging the linguistic syntax and formal construction into musical composition. Such method is based on the eight different techniques mentioned in ¡§Looming Imagery,¡¨ a chapter from Yong Wu Huang¡¦s Design of Chinese Poetry, as a means to create musical structures. ¡§The Magic Carousal¡¨ adopts the application of musical tone-painting. A composer creates a tone-poem that expresses the poetic imagery and atmosphere. Based on the concept of musical rhetoric, the words are assigned with particular musical contour or gesture that illustrates the poem even more comprehensively.

The purpose of this study is to reveal the evolutionary and revolutionary aspects of using computers to word- and tone-paint in choral-electroacoustic (CEA) works. An extended account is made of word- and tone-painting's history in selected works from the Renaissance through the Twentieth Century to establish their use as a choral music tradition, followed by an examination of three recent CEA works: Scott Wyatt's A Time of Being, Scott Miller's Dies Sanctificatus, and Reginald Bain's When I Consider the Heavens. In all instances, word- and tone-painting are identified and assigned meaning utilizing Irving Godt's "Systematic Classification of Semantic Text Influences." A chapter outlining the challenges of programming CEA works is included, along with suggestions for how conductors can meet those challenges. In addition to Godt's "Classification," a brief history of the development of computers as a musical resource and information regarding Reginald Bain's work appear in the appendices.Among the results of this study are: a confirmation of word- and tone-painting as a vital, continuing tradition in choral music; a clarification of the distinctions and overlap between word-painting, tone-painting, and rhetoric; an affirmation of Irving Godt's classification system's usefulness; and an identification of the computer's capabilities that make the machine's use evolutionary and revolutionary. The computer's most revolutionary capability is its virtually limitless ability to create, shape, and manipulate sound. As the examination of the three CEA works in this study illustrates, the computer's revolutionary potential has only begun to be utilized, and the possibilities of creating compositionally mature CEA works only begun to be realized.

"Liszt's music, unlike that of Mozart, projects the man. With rare immediacy, it gives away the character of the composer. ... " (Brendel 1986, 3) The purpose of this study is to examine Liszt's song genre from an historical and stylistic standpoint as a reflection of Liszt's ongoing personality and style development. this end the following will be presented: - an overview of Liszt's life circumstances which reflect his personality development - a chronological classification ofLiszt's song genre - the songs viewed historically as a reflection of the man - characteristics in the revisions of the songs which reveal Liszt's ongoing developing style - a study of the development ofLiszt's harmonic and tonal language as agents of colour and textual imagery. Liszt's song oeuvre will be studied in relation to the man himself in order to revtal his motives, his values, the experiences that moved him, and the ways in which he reproduced them in music. / Department of Musicology / M.Mus.

"Liszt's music, unlike that of Mozart, projects the man. With rare immediacy, it gives away the character of the composer. ... " (Brendel 1986, 3) The purpose of this study is to examine Liszt's song genre from an historical and stylistic standpoint as a reflection of Liszt's ongoing personality and style development. this end the following will be presented: - an overview of Liszt's life circumstances which reflect his personality development - a chronological classification ofLiszt's song genre - the songs viewed historically as a reflection of the man - characteristics in the revisions of the songs which reveal Liszt's ongoing developing style - a study of the development ofLiszt's harmonic and tonal language as agents of colour and textual imagery. Liszt's song oeuvre will be studied in relation to the man himself in order to revtal his motives, his values, the experiences that moved him, and the ways in which he reproduced them in music. / Department of Musicology / M.Mus.