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Sad Songs: Volume I for Mezzo-sopran...

Smith, Jeremy.

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Sad Songs: Volume I for Mezzo-soprano, Flute, Clarinet, and Cello.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Sad Songs: Volume I for Mezzo-soprano, Flute, Clarinet, and Cello./
Author:	Smith, Jeremy.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2024,
Description:	36 p.
Notes:	Source: Dissertations Abstracts International, Volume: 85-12, Section: A.
Contained By:	Dissertations Abstracts International85-12A.
Subject:	Musical composition. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31140998
ISBN:	9798382813332

Sad Songs: Volume I for Mezzo-soprano, Flute, Clarinet, and Cello.
Smith, Jeremy.

Sad Songs: Volume I for Mezzo-soprano, Flute, Clarinet, and Cello. - Ann Arbor : ProQuest Dissertations & Theses, 2024 - 36 p.

Source: Dissertations Abstracts International, Volume: 85-12, Section: A.

Thesis (D.M.A.)--The University of Alabama, 2024.

Sad Songs: Volume I is a multi-movement musical composition for mezzo-soprano, flute, clarinet, and cello. Exploring the intersection of poetry and music, each movement draws inspiration from and is structured around specific poetic recitations.The three movements of Sad Songs: Volume I set poetry from Aurora Bodenhamer's collection of the same name. Despite their outwardly lighthearted nature, these poems explore significant challenges faced by the millennial generation. The initial movement addresses the theme of addiction, while the second and third movements delve into issues related to societal disillusionment. All three movements are enveloped in a nuanced yet profound nostalgia. The composition engages with these themes by creating a complimentary musical landscape for the poems to exist within.Rhythmic qualities inherent in each selection's poetic meter guide the initial compositional decisions. The adapted rhythmic framework, tailored to each poem's distinctive structure and narrative requirements, leads to distinct rhythmic patterns that are then developed throughout each movement. These rhythmic elements undergo further refinement through the allocation of pitches, aligning with the poem's mood and governing the melodic and harmonic aspects of the composition.The mezzo-soprano assumes a dual role as a narrator articulating the poetry and an integral musical entity. The mezzo-voice is frequently paired with other instruments in the ensemble, aiming to either blend with or enhance the natural timbre of that instrument. By incorporating non-linguistic elements such as hums and other phonates, the vocalist enhances the expressive depth of the composition. In a performance setting, amplification is employed to ensure clarity and audibility, allowing the vocalist to augment and adapt the sonic palette of the instrumental trio.The composition reflects my evolving musical style, incorporating extended harmonies, asymmetrical phrases, and minimalist techniques like repeated fragments, rhythmic displacement, and slow musical development. These elements collectively work to create a soundscape meant to engage intellect and stir emotions. A sparse motivic inventory is employed within each movement. This blend of depth with a minimalist's appreciation for restraint and repetition allows listeners to slowly unravel and emotionally navigate both the music and the text.

ISBN: 9798382813332Subjects--Topical Terms:

3289630
Musical composition.
Subjects--Index Terms:

Mezzo-soprano

Sad Songs: Volume I for Mezzo-soprano, Flute, Clarinet, and Cello.
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520 $a Sad Songs: Volume I is a multi-movement musical composition for mezzo-soprano, flute, clarinet, and cello. Exploring the intersection of poetry and music, each movement draws inspiration from and is structured around specific poetic recitations.The three movements of Sad Songs: Volume I set poetry from Aurora Bodenhamer's collection of the same name. Despite their outwardly lighthearted nature, these poems explore significant challenges faced by the millennial generation. The initial movement addresses the theme of addiction, while the second and third movements delve into issues related to societal disillusionment. All three movements are enveloped in a nuanced yet profound nostalgia. The composition engages with these themes by creating a complimentary musical landscape for the poems to exist within.Rhythmic qualities inherent in each selection's poetic meter guide the initial compositional decisions. The adapted rhythmic framework, tailored to each poem's distinctive structure and narrative requirements, leads to distinct rhythmic patterns that are then developed throughout each movement. These rhythmic elements undergo further refinement through the allocation of pitches, aligning with the poem's mood and governing the melodic and harmonic aspects of the composition.The mezzo-soprano assumes a dual role as a narrator articulating the poetry and an integral musical entity. The mezzo-voice is frequently paired with other instruments in the ensemble, aiming to either blend with or enhance the natural timbre of that instrument. By incorporating non-linguistic elements such as hums and other phonates, the vocalist enhances the expressive depth of the composition. In a performance setting, amplification is employed to ensure clarity and audibility, allowing the vocalist to augment and adapt the sonic palette of the instrumental trio.The composition reflects my evolving musical style, incorporating extended harmonies, asymmetrical phrases, and minimalist techniques like repeated fragments, rhythmic displacement, and slow musical development. These elements collectively work to create a soundscape meant to engage intellect and stir emotions. A sparse motivic inventory is employed within each movement. This blend of depth with a minimalist's appreciation for restraint and repetition allows listeners to slowly unravel and emotionally navigate both the music and the text.
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653 $a Clarinet
653 $a Cello
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