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Full-Text Articles in Music Practice
A Poet's Voice: Music In Service To Poetry: Elements Of Text Painting In Juliana Hall's Song Cycle "How Do I Love Thee?", Hayley Z. Coughin
A Poet's Voice: Music In Service To Poetry: Elements Of Text Painting In Juliana Hall's Song Cycle "How Do I Love Thee?", Hayley Z. Coughin
Dissertations, 2020-current
American composer Juliana Hall has established a reputation as one of the leading composers of contemporary American art songs, having composed over 60 song cycles, totaling over 300 works for the voice. Hall’s song cycle How Do I Love Thee? expresses a narrative arc told through five selections from Victorian-era poet Elizabeth Barrett Browning’s Sonnets from the Portuguese. The poems selected include Sonnet 3: “Unlike,” Sonnet 43: “How Do I Love Thee?,” Sonnet 37: “Pardon,” Sonnet 21: “Say Over,” and Sonnet 41: “Thank You.” Hall’s cycle describes the relationship between the lover and the object of their love, including …
A Performer’S Guide To The Role Of Aspasia, Melissa Mccann
A Performer’S Guide To The Role Of Aspasia, Melissa Mccann
Dissertations, 2014-2019
More than fifteen operas based on Jean Racine’s play, Mithridate (1673), were composed in the eighteenth-century. However, Wolfgang Amadeus Mozart’s version, Mitridate, ré di Ponto (1770), is the only one which is remembered and performed today. Mitridate has earned a special place in Mozart’s operatic output because it can be considered the precursor to Idomeneo (1781), and a “prototype” for the Neo-Neapolitan School. Mozart composed Mitridate at the age of fourteen, which has led scholars to question his maturity level and mental capacity to comprehend grand operatic concepts. Through careful consideration of the sources of Mozart’s musical inspiration, some scholars …