This study presents pertinent information for singers and teachers of singers about selected vocal works written by three significant composers who were active during the first half of the twentieth century: Arnold Schoenberg, Anton Webern, and Alban Berg, also referred to as The Second Viennese School. The vocal works of these composers are often neglected due to the assumption that the works will be atonal and, therefore, musically unachievable for performers and unsatisfying for audiences. For each composer, information about his educational background and compositional style is provided, in addition to commentary on representative vocal works supported by musical examples. A significant part of this research includes interviews with renowned singers who supply advice for practice and performance-related suggestions. In order for singers and teachers to obtain essential information regarding these solo vocal works, a complete catalog is provided. / Introduction -- Arnold Schoenberg -- Anton Webern -- Alban Berg -- Vocal and rehearsal techniques -- Conclusions and suggested further research. / School of Music

Master of Music / Department of Music / Julie Yu / John Dewey once said, “If we teach today as we taught yesterday, we rob our children of tomorrow.” I believe this to be true even in the choral classroom. This paper discusses my philosophy of music education along with ways to incorporate technology into a choral music classroom through the use of web-based resources. As with any educational discipline, technology must be used in the right context to be the most effective. It must be filled with activities, instruction, and guided practice that can pass through the filter of your own philosophy of education and disseminated throughout the Nation Standards in Arts Education.

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The object of this study was to compile a list of solo literature for beginning college voice students and analyze these solos for pedagogical and performance purposes. There is no lack of printed material on the subjects of singing and voice culture. But it is not readily accessible to teachers since it is extremely diversified and rather diffusely distributed throughout a variety of sources, such as books, periodicals, and scientific papers. Several lists and books containing songs for beginners have been compiled.

The purpose of this study is to show how standards of pitch became a matter of importance in musical performance. The existence of innumerable varieties of pitches was not an actual handicap in a time when voices were accompanied by only one instrument, or when a singer accompanied himself. But when instruments began to be used with the church organ, and ensembles were formed to play in the royal courts, a standard pitch was found to be desirable. Many factors were involved in the adjustments of pitch as small ensembles evolved into the military band and the symphony orchestra. An attempt will be made to show how many of the standards were derived, and what long lasting effects they had.

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This dissertation explores the complex and intuitive elements of the author’s musical compositions. It investigates the concept of a composer’s ‘compositional voice’ by looking at the aesthetic and compositional techniques that are used to express it. In particular, it looks at the author’s expression of astronomy through his music, along with its realisation through both advanced and elementary performers. The aesthetic is examined by looking at astronomy and its relation to music. It observes the intricate ways that concepts to do with astronomy can be expressed through music, as well as the instinctive act of self-expression that arises from emotionally engaging with these astronomical concepts. The techniques used by the author to express these aesthetical ideas are generally found to be either complex or intuitive, and in turn can result in music that is difficult or simple. The complex techniques are found to be mostly process-based, using canons and subtractive and additive repetition in a similar manner to Olivier Messiaen, Steve Reich and György Ligeti. The intuitive techniques are made of instinctive creative decisions and use elements of performer improvisation and aleatory. The performer is the physical manifestation of the compositional voice; this relationship is developed through the application of both advanced and elementary performer techniques are used to reflect the author’s engagement with complexity and intuition. Due to their advanced technique, the advanced performer is found to be especially fit to realise the multilayered processes. These processes are used by composer Brian Ferneyhough, who appears to use the notion of ‘difficulty’, especially in terms of notation, as being an aesthetic technique itself. Other composers, including Johann Sebastian Bach, Béla Bartók and Benjamin Britten have written music for elementary performers. Furthermore, Britten and Peter Maxwell Davies have also written pieces for ensembles that include both advanced and elementary performers. All of these pieces that involve elementary performers have generally been found to be written either with the intention of being a didactic tool or with the intention of contributing to the composer’s immediate community. The aim in my aesthetic, however, is to combine the complex and intuitive aesthetic with both advanced and elementary performers towards a compositional voice that can embrace the elementary within complex processes. In short, the music aims towards being not only a service to the community but also an elementary-complex compositional voice capable of being relevant to the composer’s astronomy-related aesthetic. An analysis of the author’s compositions reveals evidence of the collaboration between complexity and intuition in the astronomy-related aesthetic, which is complexly realised in Messier 7 and intuitively realised in Stellar Meditations and Celestial Dances. It can also be found in the complex techniques in Celestial Shadows and the intuitive techniques used in the first two movements of Pale Blue Dot, and the interaction between the elementary and advanced performers that occurs in the IONS suite. / Doctor of Philosophy (PhD)

Thesis (Ph. D.)--Florida State University, 2006. / Advisor: Jeffrery Kite-Powell, Florida State University, College of Music. Includes biographical sketch. Includes bibliographical references.

Thesis (M. Phil.)--University of Hong Kong, 2006. / Title proper from title frame. Includes bibliographical references. Also available in printed format.

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