Gwyneth Walker’s use of melodic motive and tonal centricity to depict E. E. Cummings’ Poetry in the Cycle “though love be a day.”
- UNCG Author/Contributor (non-UNCG co-authors, if there are any, appear on document)
- Carolina C. Oliveira (Creator)
- Institution
- The University of North Carolina at Greensboro (UNCG )
- Web Site: http://library.uncg.edu/
- Advisor
- Robert Wells
Abstract: I. Opera Role: Thursday, April 11, 2013, 7:30 p.m., Taylor Theatre. Noémie in Cendrillon (Jules Massenet) II. Solo Recital: Sunday, April 21, 2013, 5:30 p.m., Recital Hall. "The Blessed Virgin's Expostulation" (Henry Purcell, realized by Benjamin Britten); "Suleika I" D. 720 , "Suleika II" D. 717 (Franz Schubert); "Nur wer die Sehnuscht kennt," "Heiβ mich nicht redden, heiβ mich schweigen," "So laβt mich scheinen, bis ich werde" from Lieder und Gesänge aus Wilhelm Meister, op. 98a (Robert Schumann); "Solveigs Sang," "Solveigs Vuggesang" from Peer Gynt, op. 23 (Edvard Grieg); Try Me, Good King Last Words of the Wives of Henvry VIII (Libby Larsen) III. Solo Recital: Sunday, April 13, 2014, 5:30 p.m., Recital Hall. "Wir eilen mit schwachen, doch emsigen Schritten" from Jesu, der du meine Seele, BWV 78 (Johann Sebastian Bach); "Wenn des Kreuzes Bitterkeiten" from Was Gott tut, das ist wohlgetan, BWV 99 (Johann Sebastian Bach); "Слезы," "В огороде, возле броду," "Рассвет" from Шесть Дуэтов (Six Duets), op. 46 (Pyotr Ilyich Tchaikovsky); "La pesca" from Soirées musicales (Gioacchino Rossini), "Le gittane" from Péchés de vieillesse (Gioacchino Rossini); Pavane, op. 50 (Gabriel Fauré), El desdichado (Camille Saint-Saëns); Chanson Espagnole (Claude Debussy); "Rede, Mädchen, allzu liebes," "Die grüne Hopfenranke," "Ein kleiner, hübscher Vogel," "Wenn so lind dein Aug emir," "Am Donaustrande, da steht ein Haus," "Nein, es ist nicht auszukommen," "Schlosser auf! Und mache Schlösser," "Ein dunkeler Schacht ist Liebe," "Es bebet das Gesträuche" from Liebeslieder Walzer, op. 52 (Johannes Brahms) IV. Solo Recital: Sunday, October 26, 2014, 5:30 p.m., Recital Hall. The Telephone (Gian-Carlo Menotti) V. D.M.A. Research Project. GWYNETH WALKER'S USE OF MELODIC MOTIVE AND TONAL CENTIRICITY TO DEPICT E. E. CUMMINGS' POETRY IN THE CYCLE "THOUGH LOVE BE A DAY." This document provides an overview of E. E. Cummings' and Gwyneth Walker's biographical information and artistic output before analyzing the harmonic and melodic motives Walker uses in the four settings of E. E. Cummings poetry found in this song cycle.
Gwyneth Walker’s use of melodic motive and tonal centricity to depict E. E. Cummings’ Poetry in the Cycle “though love be a day.”
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Created on 5/1/2015
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Additional Information
- Publication
- Dissertation
- Language: English
- Date: 2015
- Keywords
- E. E. Cummings, Gwyneth Walker, Though love be a day
- Subjects
- Walker, Gwyneth, $d 1947- $t Though love be a day
- Cummings, E. E. $q (Edward Estlin), $d 1894-1962 $x Musical settings
- Song cycles $x Analysis, appreciation