Music Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/2796
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Item LITTLE WOMEN, LONG SHADOWS: AN ART SONG RENAISSANCE INSPIRED BY EMILY DICKINSON AND AMY LOWELL TEXTS, REIMAGINED THROUGH A TWENTY-FIRST CENTURY DIGITAL LENS(2023) Feldman, Shari Eve; Ziegler, Delores; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Art songs are an expression of our innate humanity. They capture the hearts and minds of audiences from all walks of life. It is with thoughtful employment of twenty-first century technology used to deliver timeless texts and music that artists today can reach a broader viewership than ever before. This project explores strategies of audience engagement and technological integration in performance, delivered through the literary legacies of nineteenth century American female poets: Emily Dickinson and Amy Lowell. Though social outliers in their own lifetimes, today these women are considered trailblazers of their craft. This dissertation consists of two live lecture recitals of monodramas by Judith Shatin and Steven Lebetkin, and a webinar series of video performances available on YouTube with works by Robert Baksa, Aaron Copland, John Duke, Juliana Hall, Jake Heggie, Jennifer Higdon, Edie Hill, Lori Laitman, Libby Larsen, Emily Lau, Andre Previn, and Richard Pearson Thomas. Beyond the bounds of academia, classical art song is perceived as a niche interest. Many of the barriers preventing a more wide-spread commercial interest in classical art song performance were brought into high relief during the COVID-19 pandemic, when performance practices pivoted to largely remote “live-streaming” rather than in-person audiences. This project confronts barriers of access to and engagement with classical art song by repackaging performances in a format idiomatic to digital consumption.Item Contrasts: Quartets and Art Songs of the Nineteenth Century(2016) Brown, Elizabeth Lillian; Sloan, Rita; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The nineteenth-century Romantic era saw the development and expansion of many vocal and instrumental forms that had originated in the Classical era. In particular, the German lied and French mélodie matured as art forms, and they found a kind of equilibrium between piano and vocal lines. Similarly, the nineteenth-century piano quartet came into its own as a form of true chamber music in which all instruments participated equally in the texture. Composers such as Robert Schumann, Johannes Brahms, and Gabriel Fauré offer particularly successful examples of both art song and piano quartets that represent these genres at their highest level of artistic complexity. Their works have become the cornerstones of the modern collaborative pianist’s repertoire. My dissertation explored both the art songs and the piano quartets of these three composers and studied the different skills needed by a pianist performing both types of works. This project included the following art song cycles: Robert Schumann’s Dichterliebe, Gabriel Fauré’s Poème d’un Jour, and Johannes Brahms’ Zigeunerlieder. I also performed Schumann’s Piano Quartet in E-flat Major, Op. 47, Fauré’s Piano Quartet in C minor, Op. 15, and Brahms’ Piano Quartet in G minor, Op. 25. My collaborators included: Zachariah Matteson, violin and viola; Kristin Bakkegard, violin; Molly Jones, cello; Geoffrey Manyin, cello; Karl Mitze, viola; Emily Riggs, soprano, and Matthew Hill, tenor. This repertoire was presented over the course of three recitals on February 13, 2015, December 11, 2015, March 25, 2016 at the University of Maryland’s Gildenhorn Recital Hall. These recitals can be found in the Digital Repository at the University of Maryland (DRUM).