▼ Welsh art songs borrow many ideas from Welsh folk songs, and there are many societies in Wales that devote their resources to the promotion of Welsh music and art. The musical characteristics of Welsh folk songs can be seen in the composition of Welsh art songs. The subject matter in folk songs and in art songs is similar, with the same basic subject areas accounting for the majority of texts set to music. The songs also use similar tonalities, rhythms and meters. Modal tonalities and mixed meter are common in both folk songs and art songs. It can be clearly seen that the art music of the current time develops directly out of the folk music of the country. The art music of Dilys Elwyn-Edwards illustrates the influence of Welsh folk songs on Welsh art songs and shows the progression from folk song, to twentieth century art song, to new music of the twenty-first century. Advisors/Committee Members: Schoonmaker Rodgers, Jane.

▼ There are many young or inexperienced singers out there who are either unaware or misinformed as to the power of both character and the text in music. This thesis was an attempt to create an accessible guide on acting while singing those singers. Part review of literature and part pedagogical theory, it became a strong beginning argument for both why and how to act in song.In the first section, “A Call for Performance,” I argued for acting while singing, rather than complete reliance on the music to cover the drama. Then, I commented on existing texts in “Why this Thesis?,” pointing out things both positive and potentially limiting for the young singer. I also argue that the approach I, along with a few other authors, take – giving the singer options to increase their imaginative power – is more beneficial than telling the singer what to do. I then cover the importance of the text, sometimes overlooked in pedagogical studies, giving examples and exercises for the young singer to improve both consonant diction and understanding of the flow of the language. I touched briefly upon the score, reminding the student of both its power and its ability to absorb any decision he or she makes. I then listed additional resources to consider when studying the score and lingered for a moment upon the importance of thinking through rests. From there, I moved toward character, starting with the importance of imagination in singing, the strength and connection provided by a solid focus, the possibilities and reasons for movement or gesture, and, finally, basic steps for creating characters in vocal music. There are vocal exercises in the chapter entitled “The Text,” several examples throughout the thesis for the teacher of singing on how or what to ask the student, and finally, an appendix, which hopefully should serve as a quick reference guide for both beginning character development and exercises for the studio or practice room. Advisors/Committee Members: Scholl, Christopher.

▼ Building on recent biographical research, this thesis examines coded references with possible connections to homosexuality and/or desire in approximately twenty-five Schubert Lieder. Several recurring images will be identified in the texts of sixteen poets, specifically Bruchmann, Goethe, Hölty, Hüttenbrenner, Klenke, Mayrhofer, Platen, Rochlitz, Rückert, Salis-Seewis, Schiller, Schlechta, Schlegel, Schober, Schubart, and Seidl. Some of these poets were associated with the Linz circle, which was a society of writers formed in 1815 as a club for youth. Recurring images that may reference homosexuality or desire include “fishing” and “fishermen,” “roses” and “rosy cheeks,” “brooks” and “streams,” “East wind breezes,” “a thousand [kisses],” “verdant groves” and “driven search.” A chart with alternate meanings for the targeted images will be provided as a reference for the singer. An awareness of these references in Schubert’s Lieder enhances the singer’s understanding of this composer’s cultural milieu and thus aids in a more informed interpretation. Advisors/Committee Members: Merritt, Myra.