Analysis of harp performance issues in Federico's Little Songs for Children by George Crumb.

Description:

During the 20th century, chamber works for harp expanded to include significantly different instrumentations, like flute, voice and harp. Indeed, a body of works for flute, voice, and harp began to develop mainly through the commissioning efforts of ensembles comprised of these instruments. This study of George Crumb's Federico's Little Songs for Children for flutes, soprano, and harp considers the unique advantages and challenges of this instrumentation and offers specific suggestions for performance. Attention to various compositional elements of Federico's Little Songs for Children, especially as they relate to the text, is also helpful in preparing to perform this work. The form, pitch material, and text-painting in the work allow for special opportunities to convey meaning to audiences in ways that do not rely on traditional tonal relationships. Accompanying the shift away from traditional tonal relationships, the development of the harp repertoire in chamber and solo settings during the 20th century also led to the development of many extended- techniques for this instrument. For the most part, these techniques have been described and given various notational symbols but not discussed in detail with regard to execution. Federico's Little Songs for Children itself requires several unique extended-techniques. Recommendations are given in this paper concerning how to achieve the extended-techniques in Crumb's work in a stylistically appropriate and effective manner.

Creator(s): Hembreiker, Linda-Rose
Creation Date: May 2009
Partner(s):
UNT Libraries
Collection(s):
UNT Theses and Dissertations
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Total Uses: 609
Past 30 days: 20
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Publisher Info:
Publisher Name: University of North Texas
Place of Publication: Denton, Texas
Date(s):
  • Creation: May 2009
  • Digitized: September 15, 2009
Description:

During the 20th century, chamber works for harp expanded to include significantly different instrumentations, like flute, voice and harp. Indeed, a body of works for flute, voice, and harp began to develop mainly through the commissioning efforts of ensembles comprised of these instruments. This study of George Crumb's Federico's Little Songs for Children for flutes, soprano, and harp considers the unique advantages and challenges of this instrumentation and offers specific suggestions for performance. Attention to various compositional elements of Federico's Little Songs for Children, especially as they relate to the text, is also helpful in preparing to perform this work. The form, pitch material, and text-painting in the work allow for special opportunities to convey meaning to audiences in ways that do not rely on traditional tonal relationships. Accompanying the shift away from traditional tonal relationships, the development of the harp repertoire in chamber and solo settings during the 20th century also led to the development of many extended- techniques for this instrument. For the most part, these techniques have been described and given various notational symbols but not discussed in detail with regard to execution. Federico's Little Songs for Children itself requires several unique extended-techniques. Recommendations are given in this paper concerning how to achieve the extended-techniques in Crumb's work in a stylistically appropriate and effective manner.

Degree:
Level: Doctoral
Discipline: Performance
Department: College of Music
Language(s):
Subject(s):
Keyword(s): Federico Garcia Lorca | Music | harp | George Crumb | Federico's Little Songs for Children
Contributor(s):
Partner:
UNT Libraries
Collection:
UNT Theses and Dissertations
Identifier:
  • OCLC: 464606430 |
  • CALL-NO: MT121.C88 H4 2009
  • UNTCAT: b3801279 |
  • ARK: ark:/67531/metadc9848
Resource Type: Thesis or Dissertation
Format: Text
Rights:
Access: Public
License: Copyright
Holder: Hembreiker, Linda-Rose
Statement: Copyright is held by the author, unless otherwise noted. All rights reserved.