| TITLE | AUTHOR | INSTITUTION | DESCRIPTION |
|---|---|---|---|
| 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 Coughin (2022) | James Madison University Harrisonburg, Virginia | This document demonstrates how Juliana Hall uses text painting, the compositional technique of using music to reflect the literal meaning of a song's lyrics or story elements, by employing rhythmic figures, intervallic relationships, melodic contour, harmonic shifts, dynamic contrasts, and piano accompaniment in an attempt to convey the complex emotions present in Elizabeth Barrett Browning’s poetry. |
| Equitantes Super Phoenix: Cataloguing Twenty-First Century Music Making After the Early Music Revival | Devon Russo (2023) | Boston University Boston, Massachusetts | This study focuses on cataloguing the current trends that make the ‘second stage’ of the early music movement different from the initial revival, how that has affected the music and the lives of the musicians that make it, how this second stage has affected performers and composers, and how it has spawned the creation of new music. |
| Juliana Hall’s World: Analysis of Night Dances (1987) and Christina’s World (2016) | Il Hong Shin (2023) | Hartt School of Music West Hartford, Connecticut | From her first commission with Night Dances in 1987 to her recent works, such as Christina’s World in 2016, Hall has consistently adhered to her own color of compositional method and style, which is a testament to her artistic consistency and commitment to her craft. The author hopes that the findings of this study will be helpful to musicians who appreciate Hall’s works. |
| Little Women, Long Shadows: An Art Song Renaissance Inspired by Emily Dickinson and Amy Lowell Texts, Reimagined Through a Twenty-First Century Digital Lens | Shari Eve Feldman (2023) | University of Maryland College Park, Maryland | 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. |
| Reading in the dark : a performer's encounter with Emily Dickinson and her American musical interpreters | Nicole Panizza (2012) | Royal College of Music London, England | A focus on the study of art song settings of Emily Dickinson’s poetry and letters, with particular attention to the performer’s act of ‘reading’ and ‘translation.' |
| See It to Be It: Art Songs by American Women Composers | Jennifer Sue Piazza-Pick (2020) | University of Maryland College Park, Maryland | By presenting art songs by American women composers, the author hopes to expand the standard art song repertoire to include more diverse composers, encourage other singers and educators to program their excellent works, and inspire future American women composers to write music in all genres. |
| Selected Modern Settings of Emily Dickinson Poetry by Osvaldo Golijov, Ricky Ian Gordon, Lori Laitman, Jake Heggie, Libby Larsen, André Previn, and Juliana Hall | Laurie Staring (2020) | Indiana University Bloomington, Indiana | The author's intention is to direct attention to some of the modern composers who have been breathing new life into Emily Dickinson's poems and bring new points of view to Dickinson’s works in the past 30 years, especially now that we are in an era in which her original manuscripts are more readily available. I hope to see whether or not these living composers approach her poetry as a casual lover of the written word, or if they give attention to the detail that has gone unnoticed or lost for so many years. |
| The Night Dances: An Analysis of Juliana Hall’s Night Dances (1987) | Lenena Holder Brezna (2016) | University of Memphis Memphis, Tennessee | The subject of this dissertation is the song cycle Night Dances by Juliana Hall. The cycle contains six songs based on poetry by female poets: Elizabeth Bishop, Emily Brontë, Emily Dickinson, and Edna St. Vincent Millay. |
| Unusual Song Texts: Selected 20th- and 21st-Century American Art Song Repertoire using Non-Poetic Texts | Koon Ee (Alex) Chan (2023) | University of Maryland College Park, Maryland | As art songs in America developed from Stephen Foster’s popular songs to classical music giants like Samuel Barber and Leonard Bernstein to composers of today’s musical landscape, the genre has changed tremendously to reflect the current state of the world in which we live. Composers have turned to different sources of text, opening up an infinite possibility of choices. Songs that use non-poetic texts have since entered the American song repertoire, making them more accessible for both the performers and the audience alike. |
| When The South Wind Sings: A Song Cycle by Juliana Hall | Tabitha Burchett (2019) | Indiana University Bloomington, Indiana | This document seeks to bring to light the works of this talented composer by taking a close look at one of her cycles. I will consider the composer’s style, the poet, and the music itself. In this work, Hall sets the poetry of Carl Sandburg, on poetic themes of personified nature, using an improvisational compositional style. |
| Women of Letters: a Presentation of Art Songs inspired by the Personal Correspondence of Women | Hallie Eunice Coppedge (2002) | University of Illinois Urbana-Champaign, Illinois | Principally an analysis of songs by Wolfgang Amadeus Mozart, Felix Mendelssohn-Bartholdy, Alison Bauld, Nicholas Maw, Juliana Hall, and Libby Larsen that include writings and poetry by Baumberg, Goethe, Bauld, Osborne, Dickinson, Clamaty Jane, Blake and Porter. |