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1	A Practical Approach to Donald Martino's Twelve-Tone Song Cycles: Three Songs and Two Rilke Songs, for Performance Yang, Yoon Joo. 05 1900 (has links) The performance of vocal works using the twelve-tone technique requires thorough study of complex rhythms, non-tonal melodies, non-traditional notations, and specific musical terms. They generally also require advanced and varied vocal techniques. Twelve-tone vocal works often contain unusual features vital to the composer's intention. One of the premiere twelve-tone composers in the United States, Donald Martino (1931-2005) composed only two solo vocal works using the twelve-tone technique: Three Songs (1955) and Two Rilke Songs (1961). He has explored innovative and progressive uses of the twelve-tone technique, and composed music with particular methods of his own, later used by other composers. Three Songs, his first twelve-tone work, and Two Rilke Songs, the only twelve-tone song cycle in his mature style, present comparable features in his use of the twelve-tone technique, text setting, and notations. The variety of ways in which Martino uses these features in the song cycles is discussed in the performance guide. The intention of the present study is to help performers, especially singers, understand Donald Martino's two twelve-tone song cycles, and to aid in the preparation of an excellent performance. The study includes a study of historical context, the poems, and Martino's compositional and aesthetic approaches to setting them. It also offers practical and systemized ways of analyzing and preparing Martino's songs for performance. It is hoped that the methods suggested herein will reduce a singer's difficulties and rehearsal time with the pianist. The present study will offer a valuable addition to the literature on the performance practice of twelve-tone vocal music, and provide insight and advice on how to practice and perform other non-tonal music. This method of study may be applied to other contemporary music. Doing so can in turn help develop a singer's skill in handling tonal and rhythmic difficulties of all kinds, including non-traditional notations. Donald Martino twelve-tone song cycle performance practice vocal works
2	TWENTY-FIRST CENTURY WOMEN COMPOSERS OF PHILADELPHIA: AN ANALYSIS OF INDIVIDUALISTIC EXPRESSION OF COLLABORATIVE ART SONG AS DEMONSTRATED IN ANDREA CLEARFIELD’S A REMINISCENCE SING AND JENNIFER HIGDON’S LOVE SWEET Willson DeNolfo, Lisa 08 1900 (has links) Philadelphia has been a renowned center for musical development since the American Revolution. The city continues to produce influential composers who elevate the cultural tapestry of American art music. Women composers in Philadelphia have been writing innovative vocal music since the eighteenth century, including patriotic songs, children's songs, folk songs, parlor songs, musical farces, operettas, operas, cantatas, choral music, sacred music, art songs, and chamber music. The introduction of this monograph illuminates the lineage of a selected group of Philadelphian women composers. This includes biographical sketches, musical examples of their works, and a summary of their contributions, giving an inspiring account of their outstanding talent. An increasing number of women composers are producing large-scale vocal works including orchestral choral works and operas. Art songs, however, accompanied by piano or in collaboration with a variety of instruments, continue to be an integral part of the output of contemporary women composers. Solo vocal art song collaboration is popular, and rightly so, for several reasons. The result of using a combination of instruments not only creates multi-textural sonorities, but also allows for “conversation” among the different performers. Secondly, composers can assign an instrument to be played in a particular fashion to create a specific atmosphere. Thirdly, art song is an intimate medium that does not require a large performance venue, so the cost is minimal. Also, there is a theatrical element in ensemble art song that pleases the audience as they experience the collaboration between the musicians as they interact with one another. Finally, in today’s technologically advanced society there are more opportunities for ways of expression through various kinds of multimedia. Internationally acclaimed Philadelphia composer Andrea Clearfield has composed a large body of vocal works. She has written many arrangements of art song for a variety of voice types in collaboration with selected instruments. Her chamber work, A reminiscence sing for soprano, clarinet, and piano, is set to Walt Whitman’s “Out of the Cradle Endlessly Rocking” from his collection of twelve poems, Leaves of Grass (1855). The musical setting captures the essence of the American Romantic poet Walt Whitman, whose works celebrate nature, unity, and humanity. Through musical and textual analysis, I aim to offer performance goals for the singer. These include maintaining keen intonation while navigating dissonant open intervals, communication with the clarinetist throughout the work, and using Clearfield’s organized architecture of form to the utmost advantage to reveal the complex symbolism of Whitman’s poem. Pulitzer Prize-winning and three-time Grammy winner Jennifer Higdon composes music that creates a kaleidoscope of textures. Her chamber work for soprano, violin, cello, and piano, Love Sweet, comprises five poems by Imagist poet Amy Lowell. I intend to reveal how Higdon’s skillful use of prosody creates the images that Lowell expresses in her poetry. This skill ultimately aids the singer in successfully relaying the text. Higdon uses extended jazz harmonies, strong rhythmic motifs, and dampened string technique in the piano to provide the cycle’s cohesiveness. The city of Philadelphia has a rich musical heritage, to which women composers have contributed a great deal. As new vocal works composed by Philadelphia women continue to be an integral part of the mainstream classical repertoire, we must invest time and scholarship in understanding, performing, and teaching these new works. By studying the lineage of women composers in Philadelphia, one can learn about the significance of the city’s cultural landscape and discover the opportunities available to young composers. Through careful musical and poetic analysis, focusing on performance and interpretive strategies for collaborative art songs by Andrea Clearfield and Jennifer Higdon, I aim to prove these works accessible, enlightening, and fulfilling for performers and audiences alike. / Music Performance Music Clearfield Higdon Philadelphia Vocal works Voice Willson DeNolfo
3	Songs to the moon: a song cycle by Jake Heggie from poems by Vachel Lindsay Redman, Carolyn E. January 2004 (has links) No description available. Music Heggie, Jake Lindsay, Vachel Songs to the Moon Heggie vocal works
4	Zhudebněná poezie J.V.Sládka s bibliografií skladeb / J.V.Sládek poems set to music supplemented with a bibliography of pieces Tůmová, Romana January 2021 (has links) This diploma thesis deals with the topic of setting the poems of Josef Václav Sládek to music. The main source of the analyzed data is a bibliographic list of compositions, which was compiled after my own research in the databases and catalogues of the National Library of Czech Republic, the Municipal Library in Prague and Czech Museum of Music, as well as in specialised literature. The first chapter briefly summarizes the general principles of setting poetry to music and then it focuses on particular aspects of Sládek's poetics, which encourage composers to set his poems to music. The first chapter also outlines Sládek's poetics in different poetry collections. The second chapter gives a detailed analysis of the compiled bibliographic list of compositions in terms of the frequency in which particular poems have been set to music, the number of works composed by different authors, vocal and instrumental cast, and also time contexts. The third, and the most comprehensive chapter, is divided in accordance with the proposed semantically significant thematic areas of Sládek's poetic work - love poetry, poetry for children, peasantism and folk echo poetry and militantpatriotism. In the subchapters, Sládek's work is at first viewed through a literary prism, then the author attempts a musical analysis and...
5	Les cantates de Nicolaus Bruhns (1665-1697) / The cantatas of Nicolaus Bruhns (1665-1697) Fructus, Michel 03 December 2009 (has links) Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions opposées de l’œuvre d’art : elle est par voie de conséquence le produit d’une culture (parce qu’elle est liée au contexte artistique qui la précède, au regard des éléments qui la constituent et qui sont facilement identifiables dans les œuvres du passé, toute œuvre peut être perçue et pensée comme une synthèse de différents modèles, une forme d’aboutissement culturel), mais aussi le fruit d’une individualité (une œuvre d’art est une élaboration unique, indépendante de toute autre production, au regard des facteurs d’unité qui la structurent ; toute œuvre peut alors être perçue et pensée comme une entité autonome).Cette étude nous permettra de mettre à jour un soubassement de l’activité psychique : l’estimation de la distance entre le fixe et le muable. / Nicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing. Baroque Basse continue Bokemeyer (Heinrich) Buxtehude (Dietrich) Cantate Chiffrages Continuo Figures musicales Fixe Héritage Husum Identité Kapellmeiter Luther Luthéranisme Motif générateur Muable Musique allemande Musique luthérienne Musique sacrée Œuvres vocales Organiste Orgue Protestantisme Réduction mélodique Réduction harmonique Ritornello Schleswig-Holstein Sinfonia Baroque Basso continuo Bokemeyer (Heinrich) Buxtehude (Dietrich) Cantate Figuring Continuo Musical figure Fixed Heritage Husum Identity Kapellmeiter Luther Lutheranism Pattern generator Changing German music Lutheran music Sacred music Vocal works Organist Organ Protestantism Melodic reduction Harmonic reduction Ritornello Schleswig-Holstein Sinfonia

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