Department: College-Conservatory of Music: Voice ![[clear]](close-x.png "Remove this limiter")
11 matches in the database.
These are records: 1 - 11.
Did you mean instcode:ucii?
1.
Brooks, Colleen.
Cabaret Songs by Classical Composers During the First Half of the 20th Century: Satie, Schoenberg, Weill, and Britten.
Degree: DMA, College-Conservatory of Music: Voice, 2010, University of Cincinnati
► One of the most viable trends in the compositional practice of the…
(more)
▼ One of the most viable trends in the compositional practice of the twentieth and twenty-first centuries is the blurring and breaking of boundaries between classical and popular styles. Toward the end of the nineteenth century this blurring of boundaries resulted in the genre of cabaret. My document demonstrates that classical composers of various nationalities and compositional styles experimented in this new genre of cabaret. It traces the history of the cabaret movement from its origins through World War II and provides a detailed history of the cabaret songs of four classical composers: Erik Satie's cabaret songs for Vincent Hyspa, Arnold Schoenberg's Brettl-Lieder, Kurt Weill's cabaret songs from his Paris years, and Benjamin Britten's Cabaret Songs. Through musical analysis this document shows that their cabaret songs reflect the influence of popular idioms as well as each composer's own classical style.
Advisors/Committee Members: Joe, Jeongwon.
Subjects: Music
Keywords: Satie; Schoenberg; Weill; Britten; cabaret; song
More Like This
2.
Cho, Soon Y.
The Interaction Between Poetic and Musical Caesurae in Six Settings of Elizabeth Barrett Browning's Sonnet XLIII.
Degree: DMA, College-Conservatory of Music: Voice, 2011, University of Cincinnati
► This study focuses on various musical settings of Elizabeth Barrett Browning’s Sonnet…
(more)
▼ This study focuses on various musical settings of Elizabeth Barrett Browning’s Sonnet XLIII from the Sonnets from the Portuguese. The interaction between the poetic and musical caesuras is explored: the text settings in the musical examples do not always reflect the poetic caesura as indicated. Also considered is conceptualizing caesura as a dynamic compositional tool of which composers use as an effective way of expressing emotions. As caesura is an example of poetic silence, direct and indirect speech acts are performed in silence.
Advisors/Committee Members: Baresel, Thomas.
Subjects: Music
Keywords: caesura; Elizabeth Barrett Browning; Sonnet XLIII; Sonnets from the Portuguese; silence
More Like This
3.
Duggins Pender, Amy.
John Harbison’s Simple Daylight: A Textual and Musical Analysis.
Degree: DMA, College-Conservatory of Music: Voice, 2011, University of Cincinnati
► John Haribson’s choice of literary material for his vocal repertoire has been…
(more)
▼ John Haribson’s choice of literary material for his vocal repertoire has been diverse, ranging from classic poets such as Johann Wolfgang von Goethe, Emily Dickinson, and Thomas Hardy to modern and even ancient writers, such as Elizabeth Bishop, William Carlos Williams, Czeslaw Milosz, and translations of the fifteenth-century Hindu poet Mirabai. At the same time, Harbison has been drawn to certain poets several times, including Eugenio Montale, Emily Dickinson, William Carlos Williams, and the art historian Michael Fried. Despite the fact that Fried is a lesser-known poet, Harbison has been drawn to set his verse repeatedly. Simple Daylight, however, is the only vocal work of Harbison that relies solely on Fried’s texts. This thesis explores the reasons why Harbison was inspired to set Fried’s poems so many times. In the program note for Simple Daylight, Harbison wrote that his ordering of Fried’s poems made “a sequence closer in tone to a Bach cantata text than to a nineteenth-century song cycle” and evoked “a sub-cutaneous narrative very favorable for musical purposes, but no doubt unintended by the poet.” This statement begs the question of how the ordering of the texts made the piece more akin to a Bach cantata than a nineteenth-century song cycle. At first glance, Simple Daylight seems to fit the definition of a song cycle. Harbison himself asserted that the ordering of the poems suggested a “sub-cutaneous narrative”—a thread that drew the pieces into a whole. Might Harbison have employed other cyclic devices as well, such as common musical motives or a reprise of music within the work? In order to answer these questions, I analyzed Simple Daylight to discover why Haribson believed that the piece was textually more akin to a Bach cantata than a song cycle. This analysis involved researching the primary characteristics of Bach’s cantata texts and comparing these to the texts of Simple Daylight. Then I examined the musical treatment of the poetry, and, through the use of set theory, I identified musical and structural devices that unify the piece. These analyses ultimately revealed whether the piece is a true song cycle or merely a set of songs with texts by the same poet that are organized in a cantata-like fashion.
Advisors/Committee Members: mcclung, bruce.
Subjects: Music
Keywords: John Harbison; song cycle; Michael Fried; musical analysis; textual analysis; Bach cantatas
More Like This
4.
Forbay, Bronwen M.
Afrikaans Art Song: A Stylistic Study and Performance Guide.
Degree: DMA, College-Conservatory of Music: Voice, 2011, University of Cincinnati
► The aim of this document is to introduce Afrikaans art song literature…
(more)
▼ The aim of this document is to introduce Afrikaans art song literature to the international Western classical singing community. The introduction situates the topic in its historical context, providing an overview of the Afrikaans language’s European and indigenous influences, as well as the measures taken to elevate its socio-linguistic status. Information is included on the Afrikaans literary tradition and its impact on the development of the Afrikaans art song. Part One includes chapters on basic grammar and pronunciation for sung diction. Part Two includes chapters briefly defining the genre by describing the eclectic Western classical influences inherent in the music through a survey of selected songs by the following diverse composers: S. le Roux Marais (1896-1976), John K. Pescod (1896-1985), Arnold Van Wyk (1916-1983) and Pieter de Villiers (1924- ). In conclusion, recommendations for performance practice are offered. Translations of selected songs and lists of published song output by the four composers are located in the appendix. Given the dearth of published studies on this genre in English, it is hoped that this document will be a significant contribution to the discipline.
Advisors/Committee Members: Shaw, Kenneth.
Subjects: Music
Keywords: Afrikaans art song/kunslied; Impact of Afrikaans literature on music; Afrikaans diction for singers; Afrikaans grammar for singers; Afrikaans art song IPA and translations; Afrikaans art song composers
More Like This
5.
Gelbwasser, Kimberly.
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs.
Degree: DMA, College-Conservatory of Music: Voice, 2011, University of Cincinnati
► During the late nineteenth and early twentieth centuries, millions of immigrants from…
(more)
▼ During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish-Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African-American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans. This document also studies how visual and aural markers serve to reinforce or contradict ethnic identity as defined musically and textually by Berlin.
Advisors/Committee Members: Cahn, Steven.
Subjects: Music
Keywords: Irving Berlin; American popular song; Jewish; African American; ragtime; novelty songs
More Like This
6.
Hiester, Jason A.
An analysis of Ohio Music Educators Association’s 2009 class AA and A choral music with regard to the tessitura demands for the high school male voice.
Degree: DMA, College-Conservatory of Music: Voice, 2012, University of Cincinnati
► The purpose of this study is to analyze the male tessitura of…
(more)
▼ The purpose of this study is to analyze the male tessitura of the Ohio Music Educators Association’s 2009 AA and A music list for the SATB and TTBB choral ensembles. Through a review of available literature on the subject, a pedagogically healthy and developmentally sound tessitura standard has been defined for the changed young male voice. This tessitura standard has been applied to the Ohio Music Educators Association’s class AA and A High School Required Music List for 2009. An enhanced and modified tessitura analysis tool based on methodology used in Robert Shewan’s text Voice Training for the High School Chorus (1973) has been applied. Conclusions have been drawn as to the appropriateness of these choral selections for the immature high school male voice.
Advisors/Committee Members: Floyd, Eva.
Subjects: Music Education
Keywords: OMEA 2009; Tessitura Standards; Male Voice; Ohio Music Educators Association 2009 AA and A; Pedagogically Healthy Tessitura Standard; Male Tessitura
More Like This
7.
Keates, Peter C.
John Harbison's Songs for Baritone: A Performer's Guide.
Degree: DMA, College-Conservatory of Music: Voice, 2011, University of Cincinnati
► This document is a performance guide for "Words from Paterson" and "Flashes…
(more)
▼ This document is a performance guide for "Words from Paterson" and "Flashes and Illuminations," John Harbison's song cycles for baritone. It confronts the issues of text interpretation and musical style one must address in order to give the most informed performance of these songs. It provides a synthesis of information about the poems and readings of the poetry Harbison set to music, offers insight into Harbison's interpretations of the text, and demonstrates how Harbison's atonal style and unique compositional techniques provide a successful musical setting for the chosen texts. The guide also discusses performance issues based on personal experience as well as the experience of the composer and other performers. The poetic style of William Carlos Williams, Michael Fried, Czeslaw Milosz, Elizabeth Bishop, and Eugenio Montale are examined. A transcription of an interview with John Harbison is also included.
Advisors/Committee Members: Paver, Barbara.
Keywords: Harbison; songs; baritone; Paterson; Flashes; Illuminations
More Like This
8.
Kim, Youngmi.
A Singer’s Guide to Performing Two Baroque Cantatas: Barbara Strozzi’s L’Astratto, Op. 8, No. 4, and Elisabeth-Claude Jacquet de La Guerre’s Le Sommeil d’Ulisse.
Degree: DMA, College-Conservatory of Music: Voice, 2012, University of Cincinnati
► The secular cantata was one of the most popular genres in vocal…
(more)
▼ The secular cantata was one of the most popular genres in vocal chamber music during the seventeenth and eighteenth centuries. Similar to opera in its musical style and dramatic narrative, the Baroque cantata developed in Italy during the seventeenth century, changing from a multi-sectional movement with quick alternations between recitative, arioso, and aria to a multi-movement piece with several pairs of recitatives and da capo arias by the 1680s. This study is a performer’s guide to Barbara Strozzi’s L’Astratto (1664), Op. 8, No. 4 and Elizabeth-Claude Jacquet de La Guerre’s Le Sommeil d’Ulisse (1715). A comparison of two cantatas by women composers, one from mid-seventeenth-century Italy and the other from early eighteenth century France, allows for a study of different forms, singing styles, ornamentation, instrumentation, and the relationship between text and music in the genre’s development over a half-century. This document aids singers in programming this genre and discovering the music of two of the cantata’s most gifted composers. Chapter 1 presents an overview of the two composers’ biographies in terms of family backgrounds and early careers, social backgrounds, and compositional outputs, providing a frame of reference for the detailed study of each cantata at follows. Chapter 2 focuses on Strozzi’s use of text and musical rhetoric, formal structure (one-movement form with several sections), and performance issues (e.g., ornamentation, vocal technique, and instrumentation). Chapter 3 deals with La Guerre’s use of mythologically based texts, overall formal structure (several movements alternate between récitatif and air), air form (e.g., through-composed, strophic variation, and da capo form), compositional style of récitatif, and performance issues (e.g., stylized dances and tempo, rhythmic performance practice [overdotting and notes inégales], ornamentation, pronunciation, and instrumentation). This study concludes with an assessment of Strozzi’s and La Guerre’s contributions to the history of the cantata.
Advisors/Committee Members: mcclung, bruce.
Subjects: Music
Keywords: Cantata; Baroque; Barbara Strozzi; Elisabeth-Claude Jacquet de la Guerre; L'Astratto; Le Sommeil d'Ulisse
More Like This
9.
Ozaki-Graves, Margaret T.
A Performer’s Guide to Minoru Miki’s Sohmon III for Soprano, Marimba and Piano (1988).
Degree: DMA, College-Conservatory of Music: Voice, 2011, University of Cincinnati
► Japanese composer Minoru Miki (b. 1930) uses his music as a vehicle…
(more)
▼ Japanese composer Minoru Miki (b. 1930) uses his music as a vehicle to promote cross-cultural awareness and world peace, while displaying a self-proclaimed preoccupation with ethnic mixture, which he calls konketsu. This document intends to be a performance guide to Miki’s Sohmon III: for Soprano, Marimba and Piano (1988). The first chapter provides an introduction to the composer and his work. It also introduces methods of intercultural and artistic borrowing in the Japanese arts, and it defines the four basic principles of Japanese aesthetics. The second chapter focuses on the interpretation and pronunciation of Sohmon III’s song text. The first part of Chapter 2 introduces and analyzes source poetry taken from the Man’yōshū, giving special consideration to topics of intercultural and artistic borrowing, as well as identifying and explaining the use of Japanese poetic devises, such as makurakotoba and kakekotoba [epithets and homonyms]. The remainder of Chapter 2 provides general rules of Japanese diction, focusing on their application in Sohmon III. The third chapter provides musical examples of influence from traditional Japanese music upon Sohmon III. Similarities arise between the formal structure of Sohmon III and that of the instrumental ensemble genre of gagaku. The vocal and instrumental parts of Sohmon III also show influence from jiuta and nagauta traditional song styles, as well as from the folk song styles of warabeuta and shōka. The latter portion of Chapter 3 discusses Miki’s compositional desire for konketsu and compares it with the terms “synthesis” and “fusion,” which have appeared in contemporary musicological studies of cultural hybridity. Additional materials include three appendices: Appendix A: An IPA Transcription of Sohmon III, Appendix B: A Glossary of Japanese Terms, and Appendix C: A Compilation of Miki’s Vocal Works.
Advisors/Committee Members: Joe, Jeongwon.
Subjects: Music
Keywords: Miki; vocal chamber music; konketsu; cultural hybridity; sōmon; Japanese diction
More Like This
10.
Ozaki-Graves, Margaret T.
A Performer’s Guide to Minoru Miki’s Sohmon III for Soprano, Marimba and Piano (1988).
Degree: DMA, College-Conservatory of Music: Voice, 2010, University of Cincinnati
► Japanese composer Minoru Miki (b. 1930) uses his music as a vehicle…
(more)
▼ Japanese composer Minoru Miki (b. 1930) uses his music as a vehicle to promote cross-cultural awareness and world peace, while displaying a self-proclaimed preoccupation with ethnic mixture, which he calls konketsu. This document intends to be a performance guide to Miki’s Sohmon III: for Soprano, Marimba and Piano (1988). The first chapter provides an introduction to the composer and his work. It also introduces methods of intercultural and artistic borrowing in the Japanese arts, and it defines the four basic principles of Japanese aesthetics. The second chapter focuses on the interpretation and pronunciation of Sohmon III’s song text. The first part of Chapter 2 introduces and analyzes source poetry taken from the Man yoshu, giving special consideration to topics of intercultural and artistic borrowing, as well as identifying and explaining the use of Japanese poetic devises, such as makurakotoba and kakekotoba[epithets and homonyms]. The remainder of Chapter 2 provides general rules of Japanese diction, focusing on their application in Sohmon III. The third chapter provides musical examples of influence from traditional Japanese music upon Sohmon III. Similarities arise between the formal structure of Sohmon III and that of the instrumental ensemble genre of gagaku. The vocal and instrumental parts of Sohmon III also show influence from jiuta and nagauta traditional song styles, as well as from the folk song styles of warabeuta and shoka. The latter portion of Chapter 3 discusses Miki’s compositional desire for konketsu and compares it with the terms “synthesis” and “fusion,” which have appeared in contemporary musicological studies of cultural hybridity. Additional materials include three appendices: Appendix A: An IPA Transcription of Sohmon III, Appendix B: A Glossary of Japanese Terms, and Appendix C: A Compilation of Miki’s Vocal Works.
Advisors/Committee Members: Joe, Jeongwon.
Subjects: Music
Keywords: Minoru Miki; Sohmon III; vocal chamber music; Japanese language song; soprano; konketsu
More Like This
11.
Park, Moon-Sook.
Doubt and Belief: Hugo Wolf’s settings of Geistliche Lieder from Mörike Lieder and Spanisches Liederbuch.
Degree: DMA, College-Conservatory of Music: Voice, 2010, University of Cincinnati
► This study focuses on Hugo Wolf’s settings of religious-themed poetry (“Geistliche Lieder”)…
(more)
▼ This study focuses on Hugo Wolf’s settings of religious-themed poetry (“Geistliche Lieder”) in “Mörike Lieder” and Spanisches Liederbuch, composed during his highly prolific period of inspired creativity of 1888–90. While Wolf’s attitude towards religion was ambiguous, his settings of the “Geistliche Lieder” from both collections are remarkable examples of originality, artistry, and personal expression. The study traces Wolf’s motivation for working with religious-themed verses from two divergent poetic sources in the context of biographical circumstances and examines Wolf’s distinctive musical articulation in selected sacred songs from two representative works: the Mörike volume which initiated the mature period of the composer’s career and artistry, and the Spanisches Liederbuch, which represents his originality in full bloom. The study concludes with comparisons of Wolf’s approach to both sets of songs in light of his social and personal circumstances, sources of his inspiration and motivation for composing these works, and his compositional process. Finally, the issue of Wolf’s attitude towards religious subject matter, both musical and personal, is explored through supportive sources, anecdotes, and Wolf’s own statements as found in his personal letters, leading to the author’s informed perspective concerning the role of faith in the composer’s life and works.
Advisors/Committee Members: Griffiths, Kenneth.
Subjects: Music
Keywords: Hugo Wolf; Geistliche Lieder; Mörike Lieder; Spanisches Liederbuch; German Lieder; Doubt and Belief
More Like This
