Dissertationen: „American songs“

1

Snydacker, Sarah Elizabeth. „The new American song: a catalog of published songs by 25 living American composers“. Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1265.

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The purpose of this dissertation is to create a catalog of the published, solo vocal songs of 25 living American composers. Through this project, visibility will be given to a significant amount of contemporary literature that is currently unknown and / or underused by many singers and voice teachers today. Exposure to the literature in this project will encourage singers and teachers to give deserving attention to a wealth of contemporary American song literature, and will help to stimulate the study, practice and performance of other contemporary songs and composers. I have selected 25 living American composers. The composers represent a variety of compositional styles, and the songs vary in level of difficulty. The songs chosen are examined based upon criterion for vocal study at the collegiate level, and the entire repertoire is appropriate for traditional classical vocal training. Many of these composers' songs are readily available in public and collegiate libraries across the country. There are some composers, however, whose songs are currently not available in libraries, but are deserving of attention. The unpublished songs of the selected composers are not included because the purpose of this project is to increase accessibility. The composers for this dissertation include: Dominick Argento, Daniel Asia, Robert Baksa, Seymour Barab, Jack Beeson, William Bolcom, John Bucchino, Tom Cipullo, John Corigliano, John Frantzen, Zina Goldrich and Marcy Heisler, Ricky Ian Gordon, Daron Hagen, John Harbison, Jack Heggie, Lee Hoiby, Richard Hundley, Anne Kilstofte, Lori Laitman, Libby Larsen, John Musto, Thomas Pasatieri, Andre Previn, Gene Scheer, and Richard Pearson Thomas. The body of the dissertation consists of a brief biography of the individual composers followed by analyses of the composers' music. Each published song is analyzed according to a set of criterion for vocal study at the collegiate level. The annotations include: title, poet, publisher and date, dedication, vocal range, tessitura, recommended voice type, level of difficulty of the vocal and piano accompaniment, possible uses, brief musical and textual description, and other pertinent information for the study and performance of the music. This dissertation will encourage the study, practice and performance of contemporary American music. The annotated catalog will include vital information for the quick selection of songs, and the information I compile will be invaluable to singers and voice teachers searching for contemporary American literature. The composers included in this project will also benefit from the exposure of their work. There are, of course, many more composers whose songs are deserving of inclusion in this project. Annotated catalogs of larger scope or of differing perspectives should be created as further study.

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Davidson, Jill D. „Prayer-songs to our elder brother : Native American Church songs of the Otoe-Missouria and Ioway /“. free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841275.

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3

Mowery, Samantha. „Stephen Foster and American song a guide for singers /“. Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234810817.

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4

Chang, Debra Wei Kwen. „Songs of the wind“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332464/.

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Songs of the Wind is a five-movement composition for reader, chamber choir, and chamber orchestra. The work is approximately twenty-five minutes in duration. The title describes the programmatic nature of the piece, which depicts an animistic ritual invoking the wind as a deity. The texts are drawn from translations of American Indian poetry as well as original poems by the American Indian scholar Hartley Alexander.

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Nelson, Michael. „Songs for cripples“. [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002952.

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6

Lin, Yi-Cherng. „The essence of twentieth century American art songs“. College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9698.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;

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Talbott, Christy Jo. „The French art song style in selected songs by Charles Ives“. [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000455.

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8

Bateson, Catherine Victoria. „Culture and sentiments of Irish American Civil War songs“. Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33216.

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During the American Civil War, an approximate 200,000 Irish-born soldiers, and an even greater number of subsequent generation descended soldiers, fought for the Union and Confederate causes. Their experience, opinions, military actions and attitudes of their families were the subject of American Civil War songs, with songwriters penning numerous ballads about them. The conflict witnessed the mass production of wartime ballad culture, with over 11,000 pieces written and composed between 1861 and 1865 alone. An estimated 150 were by and about the Irish American wartime experience specifically. This thesis focuses on these Irish American Civil War songs and analyses the sentiments they expressed. Overall, the main topic written onto songsheet pages and in songbooks was the battlefield actions of Irish-born and descended soldiers. This study explores how military history was reported through song, following traditional oral practice patterns of using balladry to sing war reports. In particular, attention will be drawn to the proliferation of lyrical dedication and focus on specific Irish-dominated units such as the Union Army's Irish Brigade and 69th New York State Militia, and how their actions, along with other Irish soldiering units, came to dominate Irish American Civil War articulations and history. Within this lyrical attention the figures of Irish-born commanding officers, namely Generals Michael Corcoran and Thomas Francis Meagher, come to the fore. This study also analyses how their own wartime experiences and articulations corresponded with song lyrics. Beyond the battlefield focus, this thesis explores the way in which song lyrics sang about Irish loyalty and devotion to the American Union - and in a few examples Confederate nation - and particularly adopted symbols of the American nation, such as the Star Spangled Banner, as embodiments of the causes and ideals fought for by soldiers. Alongside this were lyrics that referred to symbols of Irish cultural heritage, language and a history of foreign military service. Irish identity can be seen on the surface of some songs, including references to Irish nationalism and the desire to gain Irish independence one day. Yet, as this thesis will argue, Irish American Civil War song lyrics reveal complicated support and sympathy for the Irish nationalist cause in the United States during the 1860s. Running through the songs of this study is a pervading sense and sentiment of American identity - that the Irish fighting and living through the war were stressing to society through song that they were committed to the United States as Americans first and foremost. In addition to assessing wartime views of Civil War politics and military actions, this thesis will also explore the way Irish song played a critical part in the formation of American musical culture, with traditional Irish music forming the foundation for American tunes, and blending Irish culture into the American wartime zeitgeist. This thesis will demonstrate the way in which Irish songs were written, published and disseminated through American society and crucially circulated beyond the confines of the Irish diaspora. Traditional and wartime Irish songs became a fundamental part of American culture because they were American cultural outputs. Thus this thesis will demonstrate the important evidential role Irish American Civil War songs play in singing an unexplored areas of mid-nineteenth century Irish American transnational history.

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Yancey, Eddie. „Rhythm and Blues protest songs: voices of resistance“. DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2007. http://digitalcommons.auctr.edu/dissertations/610.

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This study was an investigation of seven selected rhythm and blues black protest songs, from 1964 to 1975, and their relationship to black empowerment during the era of the Black Power Movement. The songs were analyzed using content analysis and revealed three expected themes of self/black identity, racial equity and self-determination. A fourth theme, social change, evolved during the study. The study focused on the political, cultural and economic ramifications, especially of black music, as a form of protest against a system that proved to be one of inequality, and prejudicial segregation in every aspect of the black life. The rhythm and Blues black protest songs were seen as efforts to empower the black community to take responsibility for its own survival. Of the seven artists who participated in the Black Power Movement, Nina Simone, Curtis Mayfield and Sam Cooke were the most prolific musical contributors to the protest movement of Student Nonviolent Coordinating Committee (SNCC) in its efforts to deal with segregation. The four musicians wrote and performed music that was geared specially for transformations in social justice and to engage the American society, both black and white people, in substantial and lasting social change. The music of the other artists was instrumental in bringing Rhythm and Blues into a revolution. The musical revolutionaries were James Brown, Marvin Gaye, Aretha Franklin, and Stevie Wonder. The analysis, however, did not reveal whether or not the rhythm and blues black protest songs contributed to or led to black empowerment during the Civil Rights Black Power era.

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Cardwell, Robert Ewell. „A Survey of 21st Century Gay-Themed American Art Songs for Baritone“. Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703289/.

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The majority of repertoire catalogs for singers, printed and digital, often list works by voice type, language, and/or genre. The 21st century has seen an emergence of online classical music catalogs where the user can seek repertoire by searching composers from underrepresented communities (i.e., women, Black, LGBTQ, Latinx). What does not currently exist is a resource that catalogs songs for solo voice dealing specifically with gay subject matter. This dissertation surveys seventeen 21st century gay-themed art songs by four living American composers: David Del Tredici, Ben Moore, Clint Borzoni, and Gary Schocker. Each chapter introduces a different composer and a select representation of their gay-themed art songs. Each entry includes text analysis based on the composer's and author's intentions and a brief analysis to determine pedagogical and musical difficulty. It is my intent that this document will facilitate a much-needed resource and encourage further study, promotion, and performance of voice works with gay themes. Moreover, I hope that it will serve as a tool for the applied voice teacher to assist in the vocal and artistic development of their students through broader repertoire choices.

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Lin, Pei-Ying. „Development of curriculum materials to teach American children about the culture of Taiwan through Taiwanese children's songs“. Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4315.

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Thesis (M.A.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 10, 2006) Includes bibliographical references.

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Lien, Anthony Marcus. „Against the grain : modernism and the American art song, 1900 to 1950 /“. For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.

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Gelbwasser, Kimberly. „“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs“. University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305834530.

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MacDonald, Mary Kathleen. „Songs of War: A Comparative Analysis of Soviet and American Popular Song During World War II“. The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555507523305065.

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15

Ward, Marilyn. „The extent to which American children's folk songs are taught by general music teachers throughout the United States“. [Gainesville, Fla.]: University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0000820.

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Smith, Bethany Jo. „Song to the dark virgin race and gender in five art songs of Florence B. Price /“. Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1186770755.

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Thesis (Master of Music)--University of Cincinnati, 2007.
Advisor: Melinda Boyd. Title from electronic thesis title page (viewed Feb. 5, 2008) Includes abstract. Keywords: Florence Price, black art song, African-American art song, women composers, African-American composers, Negro Renaissance. Includes bibliographical references.

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Romriell, Mackenzie Kay, und Mackenzie Kay Romriell. „Classically Unsung: The Art Songs of Alec Wilder“. Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/623029.

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The compositions of American composer, Alec Wilder, span multiple, often disparate, genres within the classical and popular music styles. During his lifetime, much of Wilder’s greatest success came from his popular songs. However, his body of work is much more vast, and some of his vocal work should be classified as art song. Wilder’s formal training, aptitude for learning, and experiences with popular music provided him with a diverse artistic palette and a unique musical voice. This resultant style is eclectic and includes modality, rhythmic motives, melodic figures, extended harmonies, and text painting.Wilder scholars, David Demsey and Ronald Prather categorized one hundred and seventeen of Wilder’s compositions as art songs. From this group, nine songs were selected and analyzed according to academically accepted characteristics of Art Song: poetry, harmony and melody, the relationship between the voice and the piano, text setting, phrasing and structure, form, and vocal demands in order to justify the songs’identification as art songs. Furthermore, this document contains brief biographical information on Alec Wilder’s life, career, and varied musical endeavors as well as a concise discussion of scholarly literature concerning the composer and his oeuvre.Alec Wilder composed music within multiple genres and styles. His output is prolific, yet his art songs remain relatively unknown. It is hopeful that this document will bring new attention to Alec Wilder, and, specifically, his art songs.

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Handman, Deborah Fleenor. „Healing songs understanding and creating powerful music for the American church /“. Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Abbott, Rebecca L. „"What? bound for Canaan's coast?" songs of pilgrimage in the American church /“. Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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Miguel, Nicholas Edward. „The art songs of Modesta Bor (1926-1998)“. Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6213.

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This essay introduces readers to the music of the Venezuelan composer Modesta Bor (1926-1998) and provides a resource for interpretation of her art songs for voice and piano. Bor was an important composer in Venezuela with a successful career in composition, pedagogy, and conducting. However, she is not widely known outside of Venezuela and scholarship on her art song is limited. This study seeks to fill that void by examining Bor’s twenty-nine published art songs for solo voice and piano. These works include the song cycles/collections Tres canciones infantiles para voz y piano, Canciones infantiles, Primer ciclo de romanzas para contralto y piano, Segundo ciclo de romanzas para contralto y piano, Tríptico sobre poesía cubana, and Tres canciones para mezzo-soprano y piano, as well as nine ungrouped songs. Bor’s art songs are notable for her imitation of Venezuelan folk and popular music in the vein of Figurative Nationalism, her sophisticated harmonic language, and neoclassical techniques such as ostinato and motivic variation. This essay aims to help performers begin to understand the allusions to the national music of Venezuela. Her music elevates the llanero, the common rural laborer, and comments on the social issues of her people. This essay provides a brief history of Venezuelan music, a biography of Bor, and brief biographies of the poets used. It also contributes original poetic and musical analyses of her art songs, exploring the areas of form, melody, rhythm, and harmony. Venezuelan Spanish and the lyric diction appropriate for Bor’s songs are discussed. Poetic translations, word-for-word translations, and International Phonetic Alphabet transliterations are included for all of the poetry used.

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Dapcic, Samantha. „John La Montaine's "Songs of the Rose of Sharon" and "Fragments from the Song of Songs": A Socio-Historical Analysis and Performer's Guide“. Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538657/.

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The purpose of this research is to examine John La Montaine's only two song cycles for soprano and orchestra, Songs of the Rose of Sharon, opus 6 (1947) and Fragments from the Song of Songs, opus 29 (1959). In this investigation-the first ever specific to these works-I examine the works and cultural context in which they were created. I then evaluate the reasonable possibility that La Montaine used his public platform as a composer and performer to subtly celebrate taboo themes of feminism, sexuality, and blackness while shining a light on human injustice. Through close examination of social and historical context, I argue two points. Firstly, Rose of Sharon and Fragments are landmark American works. They are anomalies in classical music history in that a white male heralds texts about a black woman in an unlikely time in American history, thus arguably becoming an unlikely part of the evolution of African-American women in artistic endeavors. Secondly, in the performance guide, I advocate that these works would readily adapt to a staged performance. I discuss how La Montaine's musical settings illustrate the inherent drama of the text, provide a context for interpreting the protagonist in Rose of Sharon and Fragments, and present an interpretation of how these works could be staged. The ultimate goal of this research is to bring these intricately crafted masterpieces to the attention of singers and voice teachers so that they may assume their rightful place in the repertoire.

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Abe, Shoko. „Two Argentine Song Sets: A Comparison of Songs by De Rogatis and Ginastera“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248378/.

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Latin American classical vocal repertoire is vast, but in the United States, we only hear a fairly limited part of this literature. Much of this repertoire blends western European classical music traditions and native folk music traditions. One example of such a Latin American vocal work that is well-known in the United States is Alberto Ginastera's frequently performed song set from 1943, Cinco canciones populares argentinas. However, another lesser-known, earlier work, Cinco canciones argentinas (1923), by fellow Argentine composer Pascual De Rogatis (1880-1980) deserves attention as well. As with Ginastera's set, De Rogatis' songs are based on Argentine folk genres, but contain stylistic features of European classical music of its time. De Rogatis' neglected songs are a significant, overlooked part of Argentine classical music history, and a full understanding of well-known works such as Ginastera's song set and of the genre as a whole, must include attention to De Rogatis' Cinco canciones argentinas. Beyond vocal repertoire, De Rogatis' songs are an important part of the development of Argentine classical music. While Western musical trends change rapidly, folk music remains largely unchanged. Both De Rogatis and Ginastera were proud of their Argentine heritage, and incorporated traditional music into their compositions. I believe that De Rogatis's composition had a direct influence on Ginastera, and that the similarities between the two sets are not coincidental.

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Montgomery, Vivian Sarah. „“Brilliant” Variations on Sentimental Songs: Slipping Piano Virtuosity into the Drawing Room“. Case Western Reserve University School of Graduate Studies / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=case1175530770.

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ALFELD, ANNA POULIN. „Unsung Songs: Self-Borrowing in Amy Beach's Instrumental Compositions“. University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1217521725.

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25

Perry, Frank Jr. „Afro-American vocal music: A select handbook and guide to songs by fifteen composers“. DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1990. http://digitalcommons.auctr.edu/dissertations/2847.

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This dissertation is structured as a handbook and guide. It provides selected published materials in Afro-American vocal music. These materials include music for solo voice, including the art sang, arrangements of spirituals and choral music. Emphasis is placed on composers of record whose works are in print. This handbook and guide will serve as a reference guide for musicians, choral directors or persons who simply want sane general sense of the composers and major compositions. Chapter One, "Introduction," gives the purpose of the handbook and guide. Chapter .Two, entitled "Four Pioneers," includes Harry Thacker Burleigh (1866-1949), Robert Nathaniel Dett (1882-1943), John Rosamond Johnson (1873-1954) and Hall Johnson (1888-1970). Chapter Three, "Second Generation," includes four selected composers - - Edward Hanmond Boatner (1898-1981), Frederick "Fred" Douglas Hall (1898-1981), William Levi Dawson (1899-) and John Wesley Work III (1901-1967). Chapter Four concerns "In The Contemporary Idiom: The Art Composers." The art composers selected for this period are Howard Swanson (1907-1985), Margaret Allison Bonds (1913-1972), and Undine Moore (1906-1989). "Four Avant-Garde Composers: The New Generation," Chapter Five, are composers who shared much in common with their predecessors. However, these Black composers felt the strong need and demand for the expression of "self," a heritage and a national acceptance. They used the musical tools contributed by Black people of this country. Their inclusion of the blues, spirituals and jazz as inspirations for compositions further implants nationalism into their music. The composers selected are Ulysses Sinpson Kay (1917-), Hale Smith (1925-), Arthur Cunningham (1934-), and Dorothy Rudd Moore (1940-). In addition to the bibliography, there are three appendices. Appendix I - Selected Vocal Music by Fifteen Composers; Appendix II- Selected Discography of Vocal Music by Composers; and Appendix III-Selected Publishers

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Rosby, Amy. „Subverting blackface and the epistemology of American identity in John Berryman's 77 Dream songs“. Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1216665711.

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Thesis (M.A.)--Cleveland State University, 2008.
Abstract. Title from PDF t.p. (viewed on Nov. 7, 2008). Includes bibliographical references (p. 50-52). Available online via the OhioLINK ETD Center. Also available in print.

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Morales, Robin Lee. „A Performer's Guide to the American Musical Theater Songs of Kurt Weill (1900-1950)“. Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/194115.

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With the broadening interest and popularity of musical theater studies in academic degree programs, more teachers of classical singing and students are meeting at the crossroads of conventional vocal study to broaden their skills in non-classical and musical theater techniques. Tracing back through the lineage of American musical theater, a fascinating example of vocal style emerges from the musical theater works of Kurt Weill. Weill's music exhibits operatic lyricism, jazz rhythms, and popular idioms but does not conform strictly to light opera, jazz, or popular music.In America, Kurt Weill was a successful musical theater composer by 1941 and was highly respected on Broadway. Simplicity and comprehensibility were his stylistic objectives in transforming operatic forms into a viable musical theater that would appeal to the greater public. His work in musical theater resulted in an extensive repertory of songs suitable for all voice types, one that was of considerable significance in the evolution of American theater and singing styles.Weill's American musical theater songs convey a communicative style that requires a technique grounded in the speech-based lyricism of celebrated jazz singers and singing-actors from musical theater's golden era (roughly 1927 to 1960). A deeper understanding of Kurt Weill's American theater songs will clarify the defining qualities of his musical style and suggest a more informed artistic approach for singers, teachers, coaches, and accompanists of musical theater repertoire.

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Oyola, Rebaza Zoraida Alfonsina. „A collection of Peruvian and other South American folk songs adapted for teaching violoncello“. Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/2254.

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This essay presents a collection of Peruvian and other South American folk songs adapted for teaching violoncello technique with the goal of providing students with a more culturally diverse method which equally develops the left hand and right hand technique. Peruvian and other South American children learn the violoncello with European or American method books based on European folk songs. The repertoire of traditional methods usually lacks music familiar to pupils from Peruvian and other South American cultures. Written in foreign languages, the texts often exclude Spanish translation. Peruvians, especially children, are not necessarily familiar with folk music from Europe; neither are they fluent in foreign languages. Unless the teacher is familiar with the method's philosophy and is multi-lingual, a vast amount of information is lost, causing slow, and sometimes incorrect, learning. As a consequence, Peruvian music students are at a disadvantage compared to American and European music students. The core of this project consists of the collection of folk tunes arranged for violoncello and piano. The included preparatory exercises will help the student prepare for the technical challenges presented in each piece, and the original recordings of the songs' arrangements will serve as a reference for students and teachers. The purpose of this essay is not to create a new teaching philosophy, but to provide Peruvian and other South American students with a more familiar learning repertoire, drawing on the most effective methodology of three popular violoncello methods. Nonetheless, anyone interested in learning the violoncello with a multicultural repertoire can benefit from this collection.

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Bell, Jeffery E. „American musical theater songs in the undergraduate vocal studio : a survey of current practice, guidelines for repertoire selection, and pedagogical analyses of selected songs“. Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026700.

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American musical theater songs are popular with the general public, and many college and university voice students are familiar with them. Some voice teachers also use musical theater repertoire to varying degrees in voice instruction. Such familiarity and interest lend significance to this study of the songs in a teaching context. There is therefore a need for the establishment of repertoire-selection guidelines and pedagogical analysis of selected musical theater songs so that additional teachers will become well informed.Following the introduction in Chapter One, the results of a survey sent to one hundred members of the National Association of Teachers of Singing are presented. The survey posed questions concerning the current use of musical theater songs. Among other things, the results revealed strong interest in the analysis and application of this literature in the voice studio. Guidelines for repertoire selection (also used by the author in selecting songs that address specific aspects of singing) are introduced in Chapter Three, along with a description of analytical procedures. Chapters Four through Eight include summaries of the analyses and suggested applications in the voice studio:Developing the ability to sing longer phrases"You'll Never Walk Alone" (Rodgers)"Where Is Love?" (Bart)"After the Ball" (Harris)• Developing the ability to sing wide intervals in a legato fashion "Lost in the Stars" (Weill)"Warm All Over" (Loesser)"Green Finch and Linnet Bird" (Sondheim)•Developing the ability to articulate words rapidly "My Darling, My Darling" (Loesser) "Seventy-Six Trombones" (Willson) "Soliloquy" (Rodgers)•Developing the ability to move smoothly between registers "Someone to Watch Over Me" (Gershwin) "Where or When" (Rodgers) "O1' Man River" (Kern)•Managing a large range and mature quality "Maria" (Bernstein)"Memory" (Lloyd Webber) "One More Kiss" (Sondheim)Conclusions in Chapter Nine include: (1) teachers should judge musical theater songs by the same criteria as other songs; (2) musical theater literature offers useful material for students who are striving to develop certain aspects of singing; (3) analyses of selected songs demonstrate their suitability for pedagogical use; and (4) there is a need for additional critical analysis of musical theater literature.
School of Music

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Johnstone, Jennifer Lynn. „Reinterpreting Welshness: Songs and Choral Membership in Cultural Identity“. Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334520975.

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31

De, Wagter Caroline. „Mouths on fire with songs: negotiating multi-ethnic identities on the contemporary North american stage“. Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210237.

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A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale.

Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Lane, John. „Abstracted Resonances: A Study of Performance Practices Reflecting the Influence of Indigenous American Percussive Traditions in the Music of Peter Garland“. University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282316209.

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Baltagi, Ibrahim H. „Relationships among folk song preferences of grade five students“. Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149040252.

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Wells, Robert Allen. „David Diamond as Song Composer: A Survey of Selected Vocal Works of David Diamond With a Theoretical and Stylistic Analysis of Six Early Songs, The Midnight Meditation, and Hebrew Melodies“. University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1163480150.

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Kanaridis, Mina, University of Western Sydney, of Arts Education and Social Sciences College und School of Contemporary Arts. „Investigating a singing voice in diverse genres and styles : a discussion of context and process“. THESIS_CAESS_CAR_Kanaridis_M.xml, 2002. http://handle.uws.edu.au:8081/1959.7/241.

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The author investigates the voice in diverse genres and styles, documenting and interpreting vocal performance through a contextual analysis of specifically chosen repertoire. This repertoire is drawn from collaboration with two musical groups, the Renaissance Players and Coda and from the author's artistic direction and presentation of four diverse recitals: American Songs, Italian Baroque, American Folk and Theatre and Nostalgia. Each recital is treated as a separate case study, in which the process of selecting, rehearsing and performing the repertoire is closely examined. Recordings and selected examples of scores are included to illustrate the findings. The discussion concludes with a synthesis of context and process within the framework of a global perspective celebrating diversity.
Master of Arts (Hons)

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Kimbell, Sara E. „The Romantic Pilgrim: Narrative Structure in Samuel Barber's Hermit Songs“. Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1274965990.

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Burns, Carolyn Diane. „The relevance of African American singing games to Xhosa children in South Africa a qualitative study /“. Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/burns/BurnsC0509.pdf.

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In post-apartheid South Africa there has been a strong emphasis on teaching traditional music in the schools. Previously the music was greatly influenced by Western European and English systems. New standards were developed in the Arts and Culture Curriculum 2005. The purpose of this study was to explore how children in South Africa could be taught African American singing games, their perception and preferences, and how these songs would meet the new standards. A qualitative study was conducted with 69 Xhosa children in grades five and six at Good Shepherd Primary School in Grahamstown, South Africa. The learners were introduced to three African American singing games of which they had no prior knowledge. The songs were taught in the South African traditional manner; i.e., singing and moving simultaneously. Interviews were subsequently conducted with 47 learners and 5 families. The primary school teachers also provided information informally. The learners related their knowledge of African American singing games compared to their traditional Xhosa singing games and other music. They recognized a relationship between African American slavery and the apartheid era. A learner's preference of song was directly related to his previous experience with a Xhosa children's song or traditional music used for rites and rituals. Interviews with the teachers and parents were very positive indicators that the African American singing games should be included in the curriculum. Parents remembered and sang Freedom Songs and they indicated the need for their children to learn about other African cultures. The outcome of this study may provide South African teachers with materials to introduce African American folk music as an applicable source of multicultural music with African origins. The study suggests successful ways in which we teach multicultural music.

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Regensburger, Tamara B. „Alan Louis Smith’s Vignettes: Ellis Island: The History, Evolution and Performance of a Modern American Song Cycle“. The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243873183.

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Ortiz, Camille. „Spanish Diction in Latin American Art Song: Variant Lyric Pronunciations of (s), (ll), and (y)“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984247/.

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Latin American art song is a genre primarily of the first half of the twentieth-century, when popular folklore served as the voice and inspiration of many poets and musicians. The nationalist movement served as a means of expression, each Latin American country with its own identity. There is great benefit for singers to study Spanish diction at an academic level, since it is a language already familiar to most U.S.A residents. There is a significant amount of unknown repertoire that would be very useful in the singing studio because of the language's open vowels. This repertoire can also serve as a confidence-builder to young Spanish-speaking singers at the beginning of their training. I will be focusing on the (s), (ll), and (y) sounds as pronounced in the diverse regions of Latin America; in particular, why they matter when coaching singers, and the articulators involved in each. The purpose of this study is to discuss diction differences in the repertoire, expound on its benefits for voice pedagogy, all while informing about varied options for recital programming.

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FORRESTER, ELIZABETH HARTLEIGH. „Musical Semantics within Modern Literature: A Study of Seven American Art Songs Set to the Texts of Gertrude Stein“. University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211255987.

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Forrester, Elizabeth Hartleigh. „Musical semantics within modern literature a study of seven American art songs set to the texts of Gertrude Stein /“. Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1211255987.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.
Advisors: Melinda Boyd PhD (Committee Chair), William McGraw (Committee Member), Mary Henderson-Stucky (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords: Gertrude Stein; Virgil Thomson; Ned Rorem; Gunther Schuller; David Diamond; Richard Hundley; John Cage; Psychology and Art Song; Music and Modern Literature; Cubism; American Art Song. Includes bibliographical references.

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La, Spata Adam Nunzio. „Psalms, Hymns, and Commercial Songs: Tradition and Innovation in James Lyon's "Urania"“. Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707400/.

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This dissertation asserts the value of James Lyon's Urania to the field of American music history as a vital contribution to the development of music in the British colonies prior to the War for Independence. While previous scholarship acknowledges Urania's importance as the first publication in America to contain music by a native-born composer, this study argues that its subscription list and selection of anthems (both of which were new to the field of American music publishing) contribute to the status this compilation is due. The confluence of the English chapel tradition and American singing school tradition contributes to the theological universality and accessibility of its twelve anthems. An introductory chapter discusses the secondary literature upon which this study is based - notably that of Oscar Sonneck and Richard Crawford - and posits applications for the idea presented herein beyond the field of musicology. Chapter 2 provides biographical information on James Lyon and contextualizes Urania within the broader framework of the English chapel tradition and the American singing-school tradition. Chapter 3 discusses the marketability of music in colonial America and explores the biographies of the subscribers to Urania using modern databases. Chapter 4 concerns the confluence of music and sacred text by placing Urania as a spiritual and cultural descendant of the theological universality preached during the Great Awakening. It concludes with an analysis of the anthems, taking into account both text and music. Chapter 5 concludes the study by showing how Urania affected music in the generations after its publication. My dissertation concludes with four appendices. Appendix A is an annotated list of Lyon's subscribers. Appendix B parses out basic information on the anthems, notably the texts. Appendices C and D provide critical notes and editions of the anthems, respectively.

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Thomas, Eric Sanders. „An Examination of the Solo and Duet Vocal Repertoire of Kenneth Mahy“. Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/105.

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This doctoral essay examines the vocal solo and duet repertoire of Kenneth Mahy, an American composer of art song and choral music in the late twentieth and early twenty-first centuries. By examining his songs, assessing their difficulty, and analyzing their texts, this essay establishes that Kenneth Mahy is a composer worthy of note. In addition, this study provides pedagogical observations and performance notes of his songs. Furthermore, this essay provides biographical information about Mahy, and examines how his training, education, military experience, and unique experiences as the son of missionaries in China and the Philippines, among other influences, have affected and shaped his compositions. Resources include source material gathered from Mahy's personal archives, manuscripts and scores, and personal interviews with Mahy. This information provides comprehensive insight into a unique and deserving composer of modern American art song.

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Wong, Melia. „“The air seems to infatuate the ear”: Confederate Anthems, Union Battle Cries, and their Respective Contrafacta“. Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2128.

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During the Civil War, musical fluidity led to an outpouring of songs written about the conflict. With every popular song came at least one set of alternate lyrics known as contrafacta. In this thesis, I analyze Northern anthem “The Battle Cry of Freedom,”and Southern anthems “The Bonnie Blue Flag” and “Dixie” and their contrafacta. Through the lens of contrafacta, I analyze how the North and the South understood the terms “liberty” and “freedom.”

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Martin, Joseph James. „Cultural mentoring for American Indian students: the power of the drum and southern plains social songs in a southern Arizona classroom“. Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/557241.

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Mendoza, Marisa B. „Canciones del Movimiento Chicano/Songs of the Chicano Movement: The Impact of Musical Traditions on the 1960s Chicano Civil Rights Movement“. Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/129.

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This thesis analyzes resistance songs as key representations of the identity and political formation that took place during the 1960s Chicano movement. Examining particular musical traditions, this thesis highlights the value of placing songs of the Chicano struggle in national narratives of history as well as in the context of an enduring and thriving legacy of political and social activism that continues to allow the Chicano community to recognize and validate their current social realities.

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Ward, Perry K. „A SELECT SURVEY OF CHORAL ARRANGEMENTS BASED ON THE SONGS OF STEPHEN FOSTER TRACING DEVELOPMENTS IN MUSIC AND TEXTUAL CHANGES THROUGH THE TWENTIETH AND TWENTY-FIRST CENTURIES“. UKnowledge, 2017. https://uknowledge.uky.edu/music_etds/103.

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Stephen Foster is acknowledged as America’s first composer of popular music. His legacy can be seen in the number of songs that are embedded in our cultural heritage – “Oh! Susanna,” “Beautiful Dreamer,” and “My Old Kentucky Home,” are but a very few of his most popular works. Stephen Foster’s songs have been incorporated into every facet of American culture including both popular and classical musical culture, television, and film. However, his legacy is complicated as it is tainted by connections to blackface minstrelsy in some works. This document seeks to trace the threads of racial sensitivity and cultural appropriation in works arranged for choral ensembles based on Foster’s songs. The arrangements chosen for this document provide a glimpse into three distinct periods of American history – pre-Civil Rights, the Civil Rights Era, and post-Civil Rights. Using a process of comparative analysis of the music and text of the originals to that of the arrangements, this document traces expected and unexpected changes in music and text associated with each period. Perhaps through the continued study of one of America’s first purveyors of popular culture, we can begin to understand our national legacy of racism more clearly and find a path towards reconciliation.

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Porchak, Aynsley. „“If I Could Only Win Your Love”: Lyrical Analysis of the Sacred and Secular Songs of the Louvin Brothers“. Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3687.

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In this thesis, I demonstrate how analysis through literary criticism can provide a commentary on Appalachian song. While literary analysis of both sacred and secular song lyrics is an approach that is largely overlooked in this region’s traditional music, it nonetheless provides insightful perspective on the art form itself. As I argue, one particular duo of Appalachian musicians, the Louvin Brothers, are uniquely suited to this inquiry. I propose that themes that are found in many of the Louvin Brothers’ songs, such as love, acceptance, and rejection, create a bridge between the historically documented theoretical gap between bluegrass and country music’s sacred and secular songs. I document how the Louvins successfully navigated these traditionally separate subgenres using these common subjects while offering a commentary on musical history, their own upbringing, and religion.

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Monsalve, Mejía Juana. „María Teresa Prieto's "Seis Melodías": An Analysis of Its Historical Background and Text-Music Relationship“. Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609097/.

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Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.

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Downs, Trail Sarah C. „BEVERLY, “MUSIC MISSES YOU”: A BIOGRAPHICAL AND PERFORMANCE GUIDE TO AMERICAN MEZZO-SOPRANO BEVERLY WOLFF’S CAREER AND HER SUBSEQUENT IMPACT ON AMERICAN OPERA AND ART SONG“. UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/27.

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American mezzo-soprano, Beverly Wolff has not received the credit or respect that she deserves in operatic history. Her career began in 1952 and flourished until her retirement from the stage in 1981. Her intense characterizations, innate musicianship, and intelligence made her one of the most sought-after performers from the 1950s to the 1970s. For thirty years, she worked with some of the operatic world’s finest musicians, including Leonard Bernstein, Gian-Carlo Menotti, Samuel Barber, Ned Rorem, Beverly Sills, Norman Triegle, Placido Domingo, among others. She was represented by Columbia Artists Management Inc (CAMI), one of New York’s oldest and most prestigious management companies, and maintained an active performance schedule that often included operatic, concert, and recital performances in the same week. She trained at the American Vocal Academy in Philadelphia and was inducted into its Hall of Fame. She performed in New York, Boston, Washington, D.C., San Francisco, New Orleans, and Atlanta and was an active member of the New York City Opera, Handel Society, Tanglewood, and the Handel Society of Washington, D.C. Wolff is credited with over sixty recordings. She also appeared on several of NBC’s live operatic programs, which brought opera to the masses. Perhaps most importantly, she created and debuted several important roles in American opera. Few have heard of her; the purpose of this document is to fill in this gap in operatic history, and to clarify and correct misinformation about her. In this document, I will answer the following questions: What determines a performer’s worth? What secures a performer’s place in history? Finally, and more specifically, what imprints did Beverly Wolff leave for posterity?

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Dissertationen zum Thema „American songs“

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