Aboulker’s operatic works present an opportunity for opera workshop programs in the United States to perform contemporary operatic works in a foreign language, revitalizing the operatic repertoire and giving students the opportunity to prepare and perform roles without the weight and influence of significant performance history. Aboulker’s style, which has been called “effectively simple,” allows developing students to work on new French language repertoire without the burden of excessively difficult or atonal vocal lines. Aboulker’s works are tuneful and humorous and her longest operatic work lasts a mere hour and a half. These qualities also serve to mitigate the challenge presented to the student by the French language. Many of Aboulker’s works are conceived specifically to be performed with piano only, or have already been published in piano reduction. Most of her operatic works are very short or divide easily into scenes that could be performed separately where the performance of a longer work is either not feasible or not desired. All of these characteristics combine to make the operas of Isabelle Aboulker a viable repertoire option for the university opera studio.

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Previous literature on the life and music of the Brazilian composer Francisca Edwiges Neves Gonzaga (1847-1935) reveals her as a historical figure of cultural and musical significance. Her contributions to society include political leadership in Brazilian campaigns for the abolition of slavery and artistic copyright. She also became the first female conductor in Brazil and shaped the music of Carnaval as it is known today in Brazil. However, her music is not well-known outside of Brazil, and her piano music has not received the attention that it merits. In addition to a closer look at her compositions for piano, this monograph offers biographical and musical details of Gonzaga’s unique career, including her role as a female composer amidst a patriarchal society; her pioneering synthesis of traditional Brazilian and European classical style, and a discussion of her place among her better-known Brazilian contemporaries, Ernesto Nazareth and Heitor Villa-Lobos. The last chapter presents interviews with living musicians—a pianist, a traditional folk artist and a musicologist—who have each continued the traditions of Gonzaga’s music to the present day. / Music Performance

This thesis presents an integrated assessment of the life and music of Johanna Beyer (1888-1944) through a combination of socio-cultural and musical analysis. It examines the composer?s biography in the context of the New York music scene in which she participated and the social and cultural paradigms of her time. Contemporary conceptions of gender and sex had a particularly strong impact on Beyer?s work and the reception of her music. Ideologies concerning gender, sex, work, composition and modernism intersected in a variety of ways in her life and music; these issues are examined extensively in Chapter Two. Because gendered thought was so instrumental in obscuring the work of this important composer, Chapters Three and Four provide a thorough and synthesized analysis of Beyer?s music that has thus far been denied to her. These chapters discuss both the composer?s dissonant, ?ultra-modern? music and her later tonal music, exploring elements of continuity and change in her oeuvre. The thesis rejects earlier interpretations of Beyer?s work as disjointed and argues that it is instead the product of a constantly evolving composer.

Lili Boulanger (1893-1918) is the first female composer to win the Prix de Rome in France. She had an early death due to Crohn¡¦s Disease at the age of twenty-four. During her brief and difficult life, she completed more than thirty musical pieces, one third of which were choral works. The 1913 Prix de Rome award is a clear line of demarcation of Lili's choral compositions. The early secular choral works, composed for the preparation of the first round of Prix de Rome(1911 to 1913), are much less known; her four well-known grand sacred choral works¡Ð¡§Psaume 24¡¨, ¡§Psaume 129¡¨, ¡§Psaume 130¡¨ and ¡§Vieille prière bouddhique¡¨¡Ðwere written between 1913 and 1918. Regrettably, the early secular works have been overwhelmed by the four splendor sacred works in the past century. Nine of the early works survive, and they were: ¡§Sous bois¡¨, ¡§Renouveau¡¨, ¡§Les sirènes¡¨, ¡§Soleils de septembre¡¨, ¡§Pentant la tempête¡¨, ¡§La source¡¨, ¡§Hymne au soleil¡¨, ¡§Pour les funérailles d¡¦un soldat¡¨ and ¡§Soir sur la plaine¡¨. The lyrics are from nineteen-century French poems; the music has such extreme intensity, dramatic power, demanding vocal techniques, as well as challenging piano skills. This thesis consists of five parts: an introduction, a basic review of Lili Boulanger¡¦s life and works, the analysis of the nine secular choral works, the interpretation of the works and a conclusion. There are also three appendices attached. Appendix 1 offers the translation and a pronunciation guide of the nine works. Appendix 2 is the program of the conducting recital. Appendix 3 is the program of the lecture recital.

Unlike other song composers of the 19th century, Pauline Viardot wrote in many languages and national styles. Her songs, "Haï Luli!," "In der Frühe," "Morirò," "La nuit monte/ Già la notte," "Canción de la Infanta," "Юноша и дьва," "Le Rêve de Jésus," are examples of Viardot's ability to compose in many languages and national styles.

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>

My thesis concerns the life of Clara Schumann (1819 - 1896), a major German concert pianist of the 19th century. It includes a list of her compositions and it describes her activities in piano pedagogy. Through the life of this extraordinary woman, her friends and contemporaries, the thesis provides deeper insights into the overall musical atmosphere of the 19th century. The thesis illuminates the importace of Clara Schumann and her lasting influence on European pianism.

Yvonne Desportes (1907-1993) was an influential female composer, teacher, and music theorist. Her early success as a recipient of the Prix de Rome for composition (1932) marked the beginning of her distinguished career in music culminating in a 35-year professorship at the Paris Conservatory. Despite the relative obscurity of her music, Desportes was a prolific composer and published numerous works for clarinet quartet. This dissertation seeks to promote the clarinet music of Yvonne Desportes through a pedagogical examination of her clarinet quartets. The equitable parts and quality of Desportes' compositional style allow her clarinet quartets to be effective teaching tools for the development of fundamental clarinet skills relating to tone, technique, and musical style.

This paper examines the Quintet in A Minor for Piano and Strings by Florence B. Price (1887-1953). One of Price's latest compositions (with final revisions dated January 21, 1952), the Quintet is a masterful example of what is possible when using a multicultural lens to approach the making of American music. This paper exposes the insufficiency of examining (and assessing) multicultural composers and their works only with traditional Western European analytical views, when an expanded approach is needed to explain many of the non-European musical influences and phenomena. While more complex and challenging, this expanded analytical approach sheds added light and understanding on all compositional techniques used within this work. This analysis of the Quintet in A Minor shows that Price often self-quotes from some of her own earlier works; specifically works from her organ, art song, and symphonic oeuvres. The findings also show that Price's understanding of both Western Classical traditions and African-American musical traditions enabled her to intertwine multiple cultures, creating novel forms that are authentic to the American experience she lived. Price created what she referred to as a "very beautiful and very American" sound.