In this study of vocal chamber duets the various approaches used in duet writing from the late sixteenth century through the nineteenth are examined. Various meanings attributed to the terms "vocal duet" and "chamber duet" are considered, and an appropriate delineation of the genre is determined. The study begins with examination of bicinia, dialogues, and concertato madrigals of the late sixteenth century, three kinds of works related to the continuing lines of interest in duets of later centuries: pedagogical duets, dialogue duets, and duets shaped by general musical trends. After a foundation has been laid in the sixteenth century, examples of duets of various kinds for the next three centuries are considered. It is seen that a discontinuity in the history of the vocal chamber duet occurs during the Classical period. Operatic and chamber duets prior to this time show great similarities in style. Operatic and chamber duets of the nineteenth century show distinct differences in style. At the same time that differences between operatic and chamber duets were increased, the differences between solo and duet chamber works by the same composer were decreased.

Thesis (D. Mus. Arts)--University of Washington, 2006. / For mezzo, baritone, flute, clarinet, bass clarinet, guitar, banjo, violin, cello and 2 percussionists. Texts by Walt Whitman, Hamlin Garland, David Wagoner, Mary Austin, and John Haines. Vita. Includes bibliographical references (leaf 156).

Thesis (Ph. D.)--University of Chicago, Department of Music, August 2001. / For mezzo-soprano and baritone with chamber orchestra. Text excerpted from Under the maud moon (from The book of nightmares) by Galway Kinnell. Includes performance notes. Also available on the Internet.

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Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008. / "A thesis in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007. / Includes abstract. Vita. Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0429. Adviser: William Kinderman. Includes bibliographical references (leaves 153-157) Available on microfilm from Pro Quest Information and Learning.

Thesis (M.A.)--University of California, San Diego, 2009. / Title from first page of PDF file (viewed July 8, 2009). Available via ProQuest Digital Dissertations. Includes disc containing sound files of the pieces and PDF versions of the thesis and program.

This document contains scores for the works performed at a recital of compositions by Kirsten Carlson at 8:00 p.m. April 21, 1995 at the University of British Columbia Recital Hall. Model-Deviation is written for solo flute and was composed in 1992. Those That Follow is written for two flutes and was composed in 1993. The Distance is written for soprano voice, spoken voice, violin and cello and was composed in 1993. The text is by Kirsten Carlson. For will is written for flute and trumpet and was originally composed in 1994 and revised in 1995. This is a photograph of me is written for soprano, clarinet, bassoon and violin. It was composed in 1995 with text by Margaret Atwood. The Swimmer is written for two soprano voices, flute, clarinet, two violins, viola, and cello. It was composed during 1994-95 with text by the composer. We Are Still One is written for 10 flutes and was composed in 1994.

This document contains scores for the works performed at a recital of compositions by Kirsten Carlson at 8:00 p.m. April 21, 1995 at the University of British Columbia Recital Hall. Model-Deviation is written for solo flute and was composed in 1992. Those That Follow is written for two flutes and was composed in 1993. The Distance is written for soprano voice, spoken voice, violin and cello and was composed in 1993. The text is by Kirsten Carlson. For will is written for flute and trumpet and was originally composed in 1994 and revised in 1995. This is a photograph of me is written for soprano, clarinet, bassoon and violin. It was composed in 1995 with text by Margaret Atwood. The Swimmer is written for two soprano voices, flute, clarinet, two violins, viola, and cello. It was composed during 1994-95 with text by the composer. We Are Still One is written for 10 flutes and was composed in 1994. / Arts, Faculty of / Music, School of / Sound recording included. / Graduate

Vocal duets have had a long history in the Western classical music tradition. Their use as a teaching resource can be traced back to the Renaissance, where duets were used for the development of singing, performance, and musicianship. In the late 19th and all of the 20th centuries, this pathway of vocal pedagogy has markedly declined. This study proposes a reintroduction of this methodology of teaching, asserting that it provides the collegiate vocal student with maximum opportunity for growth and development in terms of technique, musicianship, ensemble skills, and performance development. Four vocal duets ("La pesca," "Il brindisi," "Il gallop," and "La caccia") of Saverio Mercadante (1795-1870) serve as the point of discussion. These songs from Les soirées italiennes (C.1836), which are representative of the salon culture of the 19th century, are given detailed attention through a discussion of their pedagogical value. Since they are long out of print, a new performance edition is presented.