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The Recorded Legacy of Enrico Caruso and its Influence on the Italian Vocal Style

Description: This dissertation presents evidence for the influence which tenor Enrico Caruso had on the Italian Vocal Tradition. This impact was clearly boosted by the revolution realized in the fledgling recording industry, and the recordable disc. In the years of 1902-1920 gramophones became commonplace, and collecting recordings became an interest for many. This new technology required specialized skills, and was especially suited to certain qualities of voice. Caruso enjoyed immense success in this medium, in recording over 250 records. Italian vocal style at the turn of the century was changing, and Caruso employed a new "modern" style in his singing. His interpretive decisions, vocal method, and repertoire which he championed had an impact on the vocal tradition of future generations. Comparison of his recordings with tenors Fernando de Lucia, Giuseppe Anselmi, and Alessandro Bonci shows a marked contrast in styles of "the old school" and Caruso's "more straightforward" approach. A collection of historical documents for those who succeeded him include many biographies, reviews, and quotes to demonstrate the extent of his influence. Recordings also show a movement toward "the Caruso Sound." Jussi Bjoerling, Franco Corelli, Richard Tucker, Mario Lanza, and Luciano Pavarotti were all influenced by the great Caruso. Almost 100 years have passed since he sang his last performance. He continues to inspire singers to this day, through his recordings and legacy passed on by many generations. He is the ideal, the measuring stick for all tenors to follow, and continues even to today.
Date: May 2016
Creator: Garst, John Dee
Partner: UNT Libraries

A Conductor's Guide to Un-Yung La's Choral Music as Reflected in Easter Cantata

Description: Un-Yung La was one of the first Korean composers of Western style choral music who used Korean folk elements in his composers. According to Un-Yung La's musical theory, which he demonstrated in Easter Cantata. Korean-style melody and rhythm were created based on Korean traditional scales and he also used Western-style harmonization. He attempted a new Korean style of expression through Sikimsae technique in Korean traditional vocal music genres: Pansori and Sijo. The purpose of this paepr is to discuss traditional Korean performance elements related to melody, harmony, and rhythm as employed in La's Easter Cantata. The study will increase the knowledge of western conductors who wish to understand Korean folk music in preparation for performance of choral works such as La's Easter Cantata.
Date: August 2016
Creator: Ryu, Hanpill
Partner: UNT Libraries

The Use of Classic Musical Theatre Repertoire for Training Bel Canto Techniques in the Undergraduate Baritone Voice

Description: For applied teachers of the bel canto method of singing, classical musical theatre repertoire provides an abundant resource of material for teaching the undergraduate baritone voice. Select classic musical theatre repertoire, fitting within the parameters of suitable range, tessitura, duration, and thematic material for an undergraduate baritone, will be used to demonstrate the application of bel canto techniques such as: glottal onsets, the connection between the speaking voice and singing voice, suitable vowels in building the upper range, and teaching sostenuto and legato. This dissertation serves as a guide for teaching sound vocalism through classic musical theatre repertoire.
Date: May 2017
Creator: Johnson, Brock
Partner: UNT Libraries

A Guide to Suitable Bass Solo Vocal Repertoire by J. S. Bach for Collegiate Baritone

Description: In the Baroque period, the baritone voice was not yet well-defined, but many composers wrote vocal pieces with a range appropriate for the modern baritone voice. Composers used the general categories of soprano, alto, tenor, and bass for solo voice in their compositions. Johann Sebastian Bach (1685-1750) was no different from other Baroque composers in writing solo works to be performed by one of the four main voice types. The various ranges and tessituras of J. S. Bach's vocal works for bass solo voice are not limited to being sung by low basses, but may also be sung by more medium ranged baritones. The purpose of this research is to guide collegiate voice teachers and their baritone students in selecting appropriate repertoire from the works of Bach on the basis of each students' level of development and to categorize four groups of bass solos by Bach for collegiate baritone students: beginning level for freshmen, intermediate level for sophomores, advanced level for juniors and seniors, and pre-professional level for seniors and graduate students. This research was prepared in conjunction with a DMA lecture-recital of eight bass solos for collegiate baritone voice, selected from the study; two vocal works for each proficiency level.
Date: August 2017
Creator: Chang, Chul Woong
Partner: UNT Libraries

Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers

Description: As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.' This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. These giovane scuola composers include Alfredo Catalani (1854 –1893), Umberto Giordano (1867 –1948), Pietro Mascagni (1863 –1945), Giacomo Puccini (1858 –1924), and Riccardo Zandonai (1883 –1944). Descriptions of the soprano voices that premiered these roles are included in this document to determine the suitability of the lirico-spinto soprano voice for each role.
Date: August 2017
Creator: Hartgraves, Youna Jang
Partner: UNT Libraries

Do You Know the Storm? The Forgotten Lieder of Franz Schreker

Description: Franz Schreker (1878-1934) was a Jewish-Austrian composer of great success during the first decades of the twentieth century. Schreker’s reputation diminished after 1933 when Hitler came to power and, in 1938, his compositions were labeled Entartete Musik (“degenerate music”) by the Nazis in a public display in Düsseldorf. The Third Reich and post-war Germany saw Schreker as a decadent outcast, misunderstanding his unique style that combined elements of romanticism, expressionism, impressionism, symbolism, and atonality. This study of Schreker’s Lieder will pursue two goals. First, it will analyze the Mutterlieder (before 1898), the Fünf Gesänge (1909), and the first piece from Vom ewigen Leben (1923) stylistically. Schreker composed nearly four dozen Lieder, incorporating a wide range of styles and ideas. By studying and performing these songs written at various points in his career (including early songs, songs written after he met Schoenberg, and his last songs during the height of his fame), I hope to develop a clearer understanding of how Schreker synthesized the many cultural forces and artistic movements that seem to have influenced his compositional style. Second, this study will consider the sociopolitical circumstances that fueled the disintegration of his reputation. This disintegration occurred not just during the Third Reich, but also afterwards, notably in an often discussed essay by Theodor Adorno. Only in the last thirty years have scholarly voices critical of such rejections of Schreker emerged. My ultimate goal, then, is to join this reevaluation, studying and contextualizing this repertory to develop a new understanding of an oft-neglected chapter in the history of the German Lied.
Date: May 2016
Creator: Wallace, Alicia D
Partner: UNT Libraries

"The Rainy Fragrance Musical”: Wintter Watts’ Song Cycle Vignettes Of Italy With Poetry By Sara Teasdale

Description: Wintter Watts (1884-1962) was one of the most admired composers of American art song in the early twentieth century. The history of great singers who performed his songs at that time attests to the reputation of Watts as a song composer. Unfortunately the songs of Watts have become largely neglected by singers from later generations. The song cycle Vignettes of Italy (1919) for high voice is regarded by many as Watts♠ best-known composition. Vignettes of Italy was frequently performed by many famous singers in America in his day, but is little known in the current repertoire of American art song and rarely performed today. Vignettes of Italy is worthy of reintroduction to contemporary audiences and singers. This study explores the significant contributions Wintter Watts made to the body of American art song in the early twentieth century and presents a thorough investigation of Watts♠ compositional techniques of Sara Teasdale♠s texts in his song cycle Vignettes of Italy. These techniques include the use of carefully tailored rhythms, modulations, harmonic progressions, and accompaniment figures to give unique treatment to the musical setting of individual words, poetic ideas, and broader moods. I hope this research provides a foundation of understanding of this cycle, assists singers and pianists in presenting artistically coherent performances, and creates a fuller comprehension and appreciation of Watts songs.
Date: December 2011
Creator: Kwon, Hye-Ryung
Partner: UNT Libraries

Selected Songs of Dan Beaty: Background, Analysis, and Performance Guide

Description: Dan Beaty (1937-2002) was a prolific composer, pianist, researcher, educator, and writer. His large compositional output included chamber works, choral works, songs, orchestral pieces, electronic music, and keyboard works. Beaty was well versed in traditional Western music as well as the more avant-garde and perplexing idioms of the twentieth century. Beaty's compositions reflect the many fascinating, if not always popular, musical trends of his time. His music encompasses styles from serial to jazz, shows compositional influences from Arnold Schoenberg to Indonesian music, and demonstrates thought-provoking and highly intellectual craftsmanship. This document explores several of Beaty's songs through a discussion of the composer's life and compositional process. Songs included in this document are Three Weeks Songs, October, November, A Sappho Lyric, Love Song, That Night When Joy Began, and War Lyrics. This document was written to accompany the author's DMA Lecture-Recital at the University of North Texas. Unfortunately, Beaty's vocal music was never published and is mostly unknown. One goal of the project was to initiate interest in Beaty's songs. Through this document, Lecture-Recital, and additional performances, considerable strides have been made to bring Beaty's songs to new audiences throughout the United States. In addition, the author has received permission from the Beaty family to publish Dan Beaty's songs.
Date: August 2009
Creator: Novak II, Richard A.
Partner: UNT Libraries

Sun (1966): Eight Poems in One Movement for Solo Voice and Orchestra By Ned Rorem: Background, Analysis, and Performance Guide

Description: The purpose of the document is to present Ned Rorem’s Sun (1966): Eight Poems in One Movement for Solo Voice and Orchestra. the eight songs are “To the Sun,” “Sun of the Sleepless,” “Dawn,” “Day,” “Catafalque,” “Full Many a Glorious Morning,” “Sundown Lights,” and “From What Can I Tell My Bones?” the document is divided into four main chapters: 1) Background; 2) Poet and Poem Background; 3) Musical Analysis; 4) Performance Guide. Chapter 1 contains biographical information on Ned Rorem, and basic information of the work, Sun. Here, a relationship between the eight songs is presented. Chapter 2 discusses biography of poet and background of the poem. the poetry is examined to determine the theme and to identify imagery, and metaphor. Chapter 3 offers detailed musical analysis for each of the eight songs and interludes. Chapter 4 provides performance guide which offers assistance in forming personal interpretation and brief specifies to singers who wish to perform this work. Appendix a includes tonality, difficulty, tempo, form, theme, range, and orchestration of each song and interlude. This study serves as a reference guide for performers of Sun.
Date: May 2012
Creator: Jung, Soohee
Partner: UNT Libraries

Goethe Settings By Johann Friedrich Reichardt and Carl Friedrich Zelter: Text, Music and Performance Possibilities

Description: The connection between text, music, and performance in the lieder of the late eighteenth and early nineteenth centuries is an integral aspect to fully comprehending the style and performance of the genre. It is also essential in order to understand the full development of the lied in its totality. The era represented a transitional period in musical development, influenced by Enlightenment values of elegance, good taste, simplicity, and naturalness which sought to eradicate the overly decorative “excesses” of the high-Baroque. In this study, emphasis is placed upon the unique development of the lied in the northern German regions by the composers Johann Friedrich Reichardt and Carl Friedrich Zelter and their musical settings of the lyric poetry of Johann Wolfgang von Goethe. The study also addresses the overall development of the genre as it progressed from the Baroque through Classicism/Neo-Classicism, Sturm und Drang, and into Romanticism exploring the musical settings and performance possibilities both then and now in the context of the various treatises and correspondence between the composers and poet. It seeks to effectively address the notion that these early songs were composed and performed by those versed in the ideal of music being an improvisatory/dramatic vehicle for expressing emotion and textual meaning. In opera, and to a lesser extent other vocal idioms, musico-dramatic excesses occurred in the late Baroque and the cult of the singer reigned. However, the reforms which led to the new aesthetic of naturalness did not suddenly end this improvisatory vocal performance practice. The musical complexity of the lied was gaining in prominence but not yet to the detriment of the priority of the poetic text and its effective rendering.
Date: August 2012
Creator: Moore, Wes C.
Partner: UNT Libraries

"The Wider View": Engaging a New Generation of Singers through African-American Art Song

Description: Through studying the poetry and its context, the lives of the poets and composers, and the musical choices which emerged from these combined influences, students of the "Millennial" generation may experience a deeper connection to art song and its role in defining and reflecting national character. Not yet a part of the traditional canon of American art song, the songs of African-American composers are of particular value in this regard, offering teachers, students, and recitalists less frequently-performed repertoire to explore. Representing a broad spectrum of literary and cultural influences, these songs are just as diverse, multi-faceted, and full of variety as any other body of art song repertoire and richly contribute to the past and present life of the genre. Going beyond the music and the words can only reinforce the study of technique and enrich the studio experience, while at the same time providing a multicultural learning environment which more accurately reflects the America in which these same students will become the singers and voice teachers of tomorrow.
Date: August 2010
Creator: Ciobanu, Jennifer Odom
Partner: UNT Libraries

“I Gotta Right to Sing the Blues”: Considering the Music of Harold Arlen (1905-1986) for Use by Female Singers in the Classical Voice Studio

Description: American musical theater and film composer Harold Arlen is largely overshadowed by his contemporaries, such as George Gershwin, Irving Berlin, and Cole Porter. However, his music serves as a viable alternative for singers of all skill level studying a classical technique. By studying the music of Harold Arlen, singers will utilize a wide range, legato line, negotiations of register, mood shifts, and varying tessituras. The following document considers the importance of Arlen’s music by analyzing eight of his songs from three prominent decades of compositional output. The eight songs examined are grouped by the decade of their composition: the 1930s, 1940s, and 1950s. Each song is evaluated by determining the musical benefits included in each song and also the skill level required of the singer.
Date: August 2013
Creator: Hawk, Heather L.
Partner: UNT Libraries

From Germany to Palestine: a Comparison of Two Choral Works by Paul Ben-haim – “Joram” and “Kabbalat Shabbat”

Description: The choral music of Israeli composer Paul Ben-Haim (1897-1984) falls clearly into two distinct compositional periods. Born in Munich, Germany as Paul Frankenburger, the composer received formal, classical training at the Munich Academy of Music. His compositions from this period are an amalgamation of many styles, and they include influences of Bach, Handel, Mahler, Debussy, and Strauss. In 1933, Ben-Haim, along with other trained artists and composers, immigrated to Palestine as part of the Fifth Aliyah. Prior to this wave of immigration, Palestine had not yet received any serious composers, and musically, was still in its infancy. Eager to divorce themselves from the West and identify with their new home in the East, Ben-Haim and his fellow transplant composers sought a new musical language and a unique voice for Israel. Enamored with the exotic sounds of his new environment, Ben-Haim began to absorb elements of Eastern Mediterranean music into his compositions. As a Westerner, he was not familiar with these Eastern traditional folk song melodies, modes, and scales, and he required outside source materials from which to draw. This document examines two choral works, one from each of Paul Ben-Haim’s style periods, Joram (1933) and Kabbalat Shabbat (1968), and identifies the compositional source materials that yielded a significant change in the character and style of his work.
Date: August 2013
Creator: Dalrymple, Holly
Partner: UNT Libraries

Defining the Contralto Voice Through the Repertoire of Ralph Vaughan Williams

Description: At the beginning of the twentieth century, the recognition of the contralto voice type had reached its apex in England. Throughout the remainder of the century, the number and popularity of recorded contraltos has decreased alongside the rise of the mezzo-soprano voice type. Due to the contralto’s decline and the lack of repertoire composed specifically for the voice, the definition of “contralto” remains somewhat ambiguous. The large contralto repertoire of English composer Ralph Vaughan Williams displays a unique sensitivity to the contralto, particularly with regards to vocal range, flexibility, tessitura, and sustainability. These works thus suggest a new perspective for the voice type. The scope of Vaughan Williams’s oeuvre examined includes each of his operatic roles for contralto and choral works featuring the contralto. Also examined will be the compositional techniques implemented within these pieces which demonstrate the strengths and weaknesses of the contralto voice. A workable definition of the voice type for the pedagogue and performer is included.
Date: May 2014
Creator: Daniels, Sarah M.
Partner: UNT Libraries

Holocaust Song Literature: Expressing the Human Experiences and Emotions of the Holocaust through Song Literature, Focusing on Song Literature of Hirsh Glick, Mordechai Gebirtig, and Simon Sargon

Description: During the years of the Holocaust, song literature was needed to fulfill the unique needs of people caught in an unimaginable nightmare. The twelve years between 1933 and 1945 were filled with a brutal display of man's inhumanity to man. Despite the horrific conditions or perhaps because of them, the Jewish people made music, and in particular, they sang. Whether built on a new or an old melody, the Holocaust song literature continues to speak to those of us who are willing to listen. This body of work tells the world that these people lived, suffered, longed for vengeance, loved, dreamed, prayed, and tragically, died. This repertoire of songs is part of the legacy, the very soul of the Jewish people. This study contains a brief look at the historical circumstances, and through the song literature of Hirsh Glick, Mordechai Gebirtig and Simon Sargon, life within the ghetto, the concentration camp, the decisions families had to make, the choices to fight back against incredible odds, the place of faith within this nightmare, and a look at the lives and works of the composers themselves.
Date: August 2005
Creator: Nedvin, Brian
Partner: UNT Libraries

"Between the Staves" - Adaptations of Debussy's Six épigraphes antiques and Creative Tasks of the Performer

Description: The Six épigraphes antiques represent a cross-section of Debussy's creative output that traces the composer's germ-seed from his original setting of the work in 1901 as incidental music to accompany the recitation of several poems, to the four-hand piano version of 1914, and its consequent reduction for solo piano. What can be gleaned by the methods of derivation from his original sketches to the final, mature works is an understanding of Debussy's use of musical metaphor and his connection to the poetry - the Chansons de Bilitis of Pierre Louÿs. Embedded literary procedures create a new musical expression of the work whereby text and music become integrated. Rather than serving as accompaniment to the poems, the Épigraphes function as the primary vessel for the conveyance of these ancient scenes. Several of Debussy's hallmark symmetrical and structural moulds, such as the whole-tone, chromatic, octatonic, and mirroring techniques reflect the omnipresent symmetry of Classical Greece. Various other artistic creations emanated from the Épigraphes, most significantly the orchestration of Ernest Ansermet in 1939. A look at the techniques used by Ansermet for the augmentation of the piano work serves to extrapolate the multifarious layers relevant in performance. In order to facilitate the four-hand version for solo piano, Debussy used a variety of reductive methods. There are, however, means by which some of the extracted material might be restored to the solo version. Like the late work of many great masters, the Épigraphes are redolent of the tendency so many artists have near the end of their days - to revert back to the purest techniques of their language. The scoring of Debussy's Épigraphes is scaled back, compared to his Préludes (often consisting of three staves of notation), and incorporates leaner textures generated from lapidary motifs which transmit the antique realms evoked by the ...
Date: December 2007
Creator: Astilla, Christopher
Partner: UNT Libraries

Camille Saint-Säens' Piano Concerto No. 5 in F Major, Opus 103: An Analytical Study of Form, Compositional Techniques, and a Performance Perspective

Description: The majority of books about Saint-Säens cover his life, compositions, contemporaries, and French music in general. Although his life is well documented, most sources present only brief analyses of his works; there is not one single comprehensive and exhaustive study of the Piano Concerto in F Major, Opus 103, available in the current literature. This study aims at filling the gap by providing other musicians interested in performing this piece with an initial study-guide. The research for this study focuses on several aspects of Saint-Säens' music. The currently available literature and past research is thoroughly examined, appraised, and quoted when relevant to the discussion. The original score of the concerto is analyzed regarding its form, compositional style, and performance indications. Diagrams, charts, and musical examples are presented to illustrate and substantiate the researcher's conclusions. Chapter I presents the topic and purpose of this study, a brief biography of Saint-Säens, a chronological overview of his five piano concertos, and the historical background of the Piano Concerto No. 5 in F Major, Opus 103. Chapter II presents a formal analysis and a compositional analysis of Opus 103. Chapter III presents a perspective of Saint-Säens playing style and performance recommendations by the author. Chapter IV concludes this study by determining the importance of Opus 103 in piano literature and by explaining the reason that performers with professional aspirations should consider including this concerto in their repertoire.
Date: December 2004
Creator: Yoo, Seung Won
Partner: UNT Libraries

A Performer's Guide to John Musto's Penelope: A Cycle of Seven Songs for Soprano and Piano

Description: Award-winning composer John Musto stands at the forefront of modern American art-song composition. Many of his songs, such as "Litany" from Shadow of the Blues, have already achieved a place in the standard contemporary repertory for singers. His compositional technique weaves influences of jazz, blues, ragtime, and popular music with classical technique to make music that is decidedly modern but accessible and well liked both by critics and audiences. Unfortunately, though he is still actively composing, very little has been written about Musto and there is a lack of information available about his more recent compositions. This performance guide addresses one of Musto's acclaimed song cycles, Penelope, (a cycle of seven songs for soprano and piano) commissioned and premiered in 2000. The story of the cycle is an updated version of the character Penelope from Homer's The Odyssey and was a collaboration between Musto and poet Denise Lanctot. Including interviews with Musto, and his wife, soprano Amy Burton, who premiered the cycle and for whom it was written, the document provides background information on how the cycle was conceived and gives in-depth performance information on each of the seven songs of Penelope. In addition to musical examples and poetry from the songs, this study also contains a catalogue of Musto's compositions listing premiere dates, performers, and information about the commission of each work.
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Date: December 2005
Creator: Kanakis, Karen
Partner: UNT Libraries

"Do You Remember?": Remembering Gay Victims of the Holocaust Through Jake Heggie's Theater Piece, For a Look or a Touch

Description: American composer Jake Heggie's For a Look or a Touch exists as the only classical music work of remembrance based on the topic of remembering homosexual victims of the Holocaust. The composer, after being approached by Mina Miller, wrote this 2007 composition as part of the Music of Remembrance concert series. The music of this work varies in style from a blazing swing dance to a haunting vocalise on "oo." Gene Scheer created the text, delivered in the work by the characters Manfred Lewin and Gad Beck, as a compilation of many influential stories from the documentary film Paragraph 175. For a Look or a Touch chronicles the horrendous treatment of homosexuals before, during, and after World War II. Chapters include an introduction to homosexual persecution during Hitler's reign, a look at current works of remembrance and how For a Look or a Touch came to fruition, an explanation of the texts created by Gene Scheer, a discussion on Jake Heggie's musical setting of this text, and avenues for possible future research. Appendices include text of the German anti-sodomy laws as written in Paragraph 175, the mission statement for the organization Music of Remembrance, transcripts from personal interviews with both Jake Heggie and Gene Scheer, correspondence with Heggie, and the source delineation of Gene Scheer's text.
Date: May 2011
Creator: Rinaldi, Joseph Warren
Partner: UNT Libraries

Under the Influence of Marc Blitzstein: Examining Leonard J Lehrman’s Uses of Serial Techniques for Dramatic Purposes in Karla

Description: American composer, author and conductor Leonard J. Lehrman (b. 1949) has spent a majority of his lifetime devoted to the scholarship on the music of Marc Blitzstein (1905-1964). Lehrman completed Blitzstein’s Idiots First in 1973, and finished his own one-act opera Karla in 1974. In an effort to honor Blitzstein, Lehrman included Karla along with Idiots First to begin the set of one-act operas to be titled Tales of Malamud. Lehrman coined the term “selective serialism” in reference to Blitzstein’s use of serial techniques representing something associated with death or something diabolical. Lehrman applies a similar technique in that he uses serialism to reference the presence of a handwritten notes that are tied to the dramatic context of the opera. This study examines Lehrman's use of serialism in Karla as it was directly influenced by Blitzstein’s use of serialism in Idiots First.
Date: December 2014
Creator: Blackwood, Jeremy B
Partner: UNT Libraries

Selected Operas of Isabelle Aboulker As Repertoire for the University Opera Studio

Description: Aboulker’s operatic works present an opportunity for opera workshop programs in the United States to perform contemporary operatic works in a foreign language, revitalizing the operatic repertoire and giving students the opportunity to prepare and perform roles without the weight and influence of significant performance history. Aboulker’s style, which has been called “effectively simple,” allows developing students to work on new French language repertoire without the burden of excessively difficult or atonal vocal lines. Aboulker’s works are tuneful and humorous and her longest operatic work lasts a mere hour and a half. These qualities also serve to mitigate the challenge presented to the student by the French language. Many of Aboulker’s works are conceived specifically to be performed with piano only, or have already been published in piano reduction. Most of her operatic works are very short or divide easily into scenes that could be performed separately where the performance of a longer work is either not feasible or not desired. All of these characteristics combine to make the operas of Isabelle Aboulker a viable repertoire option for the university opera studio.
Date: December 2014
Creator: O'Keefe, Patricia Beatrice
Partner: UNT Libraries

The Influence of Indigenous Bushmen Musical Elements and Significant Compositional Traits on Niel Van Der Watt’s Song Cycle, Die Wind Dreun Soos ‘N Ghoera, ‘N Siklus Boesman-mites

Description: In Ghoera, Afrika-verse vir kinders, poet Hennie Aucamp demonstrates an affiliation with and reflection of his surroundings, such as the tribal communities he experienced as a child. This group of African children’s poems, published by Protea Boekhuis in 2011, became the source of inspiration for composer Niel van der Watt’s song cycle Die wind dreun soos ‘n ghoera, ‘n Siklus Boesman-mites. This study investigates and identifies significant compositional traits that contributed to van der Watt’s song cycle. To explore and understand the nature of such influences, the second chapter considers the composer’s early childhood; religious world views; student life; social, environmental, and political ideas; personal tonal language; and western musical elements. To ascertain possible indigenous Bushmen musical elements in van der Watt’s song cycle, the third chapter traces the history of the Bushmen and their marginalization, followed by a brief survey of historical writings on Bushmen music, and an identification process utilizing musicologist Percival R. Kirby’s research on Bushmen music as a foundation. The fourth chapter explores the origins of the cycle and other significant compositional influences. This study suggests that Hennie Aucamp’s poetry and Niel van der Watt’s song cycle represent a reconciling vehicle for cross-cultural understanding generating awareness and greater appreciation of the life, myths, oral traditions, and the music of the Bushmen.
Date: August 2014
Creator: Bester, Christiaan
Partner: UNT Libraries

Voice Building Exercises From the Cornelius L Reid Archive: an Introduction

Description: The study introduces the Cornelius Reid Archive and provides biographical and functional context for Reid’s teaching method, which he referred to as functional voice training. Biography, summary of Reid’s ideas on environmental control and vocal registration, together with descriptions taken from Reid’s own writings of the function and purpose of various exercises transcribed from the Archive, constitute the primary chapters. Appendices include complete transcription of ca. 170 exercises and several illustrations of Dr. Douglas Stanley’s overt teaching methods.
Date: August 2014
Creator: Yarrington, Jonathan S.
Partner: UNT Libraries