Stabat Mater by Frank Ferko, A Mosaic of Mourning: The Universality of Mothers' Grief, Ancient Texts Made Relevant by the Addition of English Interpolations

Stabat Mater by Frank Ferko, A Mosaic of Mourning: The Universality of Mothers' Grief, Ancient Texts Made Relevant by the Addition of English Interpolations

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Date: May 2006
Creator: Wilson, Barbara Sue Johnston
Description: This document examines Frank Ferko's unique setting of the ancient Latin sequence, Stabat Mater that incorporates five English interpolations dealing with the subject of parental grief over the loss of a child. The twenty Latin stanzas and five English interpolations are examined harmonically and philosophically, as two separate works. The tonal architecture of the work, outlined in two large arches built on key relationships, is explored in the body of the paper in addition to a graphic depiction and table of key centers. The interrelationship between key centers and textual considerations is examined. An extensive interview with the composer provided invaluable information regarding the creative process as it relates to the choice of English texts, compositional techniques and influences, and the stylistic musical diversity that characterizes the work. Three prominent American conductors, who have conducted significant performances Stabat Mater discussed specific problems and solutions in preparing and performing the work. Data pertaining to Stabat Mater history and other settings was gathered from reference materials, periodicals, and internet sources.
Contributing Partner: UNT Libraries
Luciano Berio's  Sequenza III: The Use of Vocal Gesture and the Genre of the Mad Scene

Luciano Berio's Sequenza III: The Use of Vocal Gesture and the Genre of the Mad Scene

Date: August 2004
Creator: Edwards, Patti Yvonne
Description: Sequenza III was written in the mid -1960s and is widely available for study and performance, but how can this work be defined? Is it a series of sounds, or phonemes, or the anxious mutterings of a woman? Is it performance art or an operatic mad scene? Sequenza III could be all of these or something else entirely. Writing about my method of preparation will work to allay some of my own and other performer's fears about attempting this unusual repertory. Very little in this piece is actually performed on pitch, and even then the pitches are not definite. The intervals on the five-line staff are to be observed but the singer may choose to sing within her own vocal range. The notation that Berio has used is new and specific, but the emotional markings and dynamics drawn from these markings permit a variety of interpretive decisions by the performer. There is a very brief text and no actual melody, so where does one begin? As a composer, Berio was often responsive to external stimuli. Quotation of his earlier works and the works of others was a common tool of his technique. By comparing Sequenza III with other works by ...
Contributing Partner: UNT Libraries
Similarities in the Use of Dramatic Recitative Style in the Music of Claudio Monteverdi and Giuseppe Verdi, with Some Performance-Practice Issues

Similarities in the Use of Dramatic Recitative Style in the Music of Claudio Monteverdi and Giuseppe Verdi, with Some Performance-Practice Issues

Date: August 2001
Creator: Mihelcic, Sonja
Description: The objective of this dissertation, inspired by performance experience, was to establish the similarities in the use of recitative style in the music of Claudio Monteverdi and Giuseppe Verdi. To achieve this objective, their use of recitative style was examined through comparative analysis of four scenes from their operas: “Arianna's Lament” from L'Arianna and “Disprezzata regina” from L'incoronazione di Poppea by Monteverdi, and “Condotta ell'era in ceppi” from Il trovatore and “Judgment Scene” from Aida by Verdi. The examination of the similarities included a discussion of the following: (a) the historical influences and cultural backgrounds of the composers; (b) general similarities in their compositional approaches to recitative style; (c) comparable characteristics of the dramatic recitative style in the early Baroque monody and in Verdi's operas; (d) similarities in musical characterization and expression of affective and emotional content through stylistic musical devices; (e) similarities in the composers' approaches to vocal and acting issues with special emphasis on the problems of diction; and (f) some related performance-practice issues. A discussion of the poetic lament and the influence of its form and content on musical setting was also a part of this research. The comparative research revealed numerous similarities in the historical circumstances ...
Contributing Partner: UNT Libraries
The Nightingale in Poetry and Music

The Nightingale in Poetry and Music

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Date: May 2003
Creator: Blizzard, Amy
Description: This thesis surveys a variety of songs and arias for high soprano which feature the nightingale; examines the musical elements that symbolize, refer to, or imitate the nightingale; and compares these musical elements with transcriptions of the nightingale's song. The first chapter reviews the symbolic development of the nightingale and its role in poetry and literature. The interior chapters address a selection of musical compositions that feature the nightingale and its song. The final chapter establishes a relationship between the sound of the actual sound of the nightingale and the musical gestures created by composers to imitate the nightingale.
Contributing Partner: UNT Libraries
An Investigation of the Traditional  Cante Jondo as the Inspiration for the Song Cycle  Five Poems of Garcia Lorca by Elisenda Fabregas

An Investigation of the Traditional Cante Jondo as the Inspiration for the Song Cycle Five Poems of Garcia Lorca by Elisenda Fabregas

Date: May 2004
Creator: Hobbs, Mary Etta
Description: The traditional cante jondo is a song unique to Andalusia as it developed from the "mosaic" of cultures that have inhabited its borders, including Arabs, Jews and Gypsies. The genre expresses the history of the region, reveals the typography of the landscape and cries the tears of its people. "Deep song," the translation for cante jondo, is the forerunner of the flamenco, but it is a communication of a dark soul rather than an exuberant entertainment. The original folk idiom is a medium less concerned with beauty than the cathartic release of pain of every day life. It expresses the soul of Andalusia. This study explores the history and the poetic and musical forms Andalusian cante jondo as the inspiration for the poetry of Federico Garcia Lorca set by Elisenda Fabregas in the song cycle, Five Poems of Garcia Lorca (1992). Lorca felt the validity of "deep song" and he was disturbed that it was being corrupted by commercialism and was afraid it would be lost to posterity. His goal was to preserve the essence of the song and lift it to an artistic plain. He saw folk music as the core of the national musical and literary identity in ...
Contributing Partner: UNT Libraries
Register Unification in Light of Twentieth-Century Vocal Pedagogy

Register Unification in Light of Twentieth-Century Vocal Pedagogy

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Date: August 2003
Creator: Tan, Haidee Lynn C.
Description: The registers of the singing voice, as commonly understood by singers, refer to the different vocal qualities induced by adjustments at the level of the larynx and of the vocal tract. This explains why register unification can be approached either one or a combination of the following procedures: (1) resonance alignment through vowel modification, (2) register alignment through intensity exercises. The wide-spread acceptance of vowel modification has made singers reluctant in exploring other avenues of register development. If registers are laryngeally derived, there should be another way of register unification, which directly addresses the coordination of the laryngeal muscles. In support of this argument, this thesis investigates the teaching practices of a group of twentieth-century American voice teachers, who rely on intensity manipulation as the primary means for enhancing the register adjustments. Intensity exercises such as the messa di voce has long been practiced in historical pedagogy, but it is not until now that voice science confirmed its significance in register coordination.
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Faculty Recital: 1992-02-19 - Twentieth Century "Pot-Pourri"

Faculty Recital: 1992-02-19 - Twentieth Century "Pot-Pourri"

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Date: February 19, 1992
Creator: Hofto, Jacqueline & Yates, Stanley
Description: Faculty recital performed at the UNT College of Music Recital Hall.
Contributing Partner: UNT Music Library
Ensemble: 1993-10-11 - NOVA

Ensemble: 1993-10-11 - NOVA

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Date: October 11, 1993
Creator: NOVA
Description: New music concert performed at the UNT College of Music Recital Hall.
Contributing Partner: UNT Music Library
Faculty Recital: 1989-02-05 - Harold Heiberg, piano, with the UNT Voice Faculty

Faculty Recital: 1989-02-05 - Harold Heiberg, piano, with the UNT Voice Faculty

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Date: February 5, 1989
Creator: Heiberg, Harold
Description: A faculty and guest artist recital performed at the UNT College of Music Recital Hall.
Contributing Partner: UNT Music Library
Faculty Recital: 1987-09-27 - Voice Faculty

Faculty Recital: 1987-09-27 - Voice Faculty

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Date: September 27, 1987
Creator: Voice Faculty
Description: Faculty recital performed at the UNT College of Music Recital Hall
Contributing Partner: UNT Music Library