University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2021 The Lullaby as Art Song: Engaging Repertoire For Study and Performance Carissa Scroggins Follow this and additional works at: https://digscholarship.unco.edu/dissertations © 2021 CARISSA SCROGGINS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School THE LULLABY AS ART SONG: ENGAGING REPERTOIRE FOR STUDY AND PERFORMANCE A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Carissa Scroggins College of Performing and Visual Arts School of Music Vocal Performance May 2021 This Dissertation by: Carissa Scroggins Entitled: The Lullaby as Art Song: Engaging Repertoire for Study and Performance has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Performing and Visual Arts in School of Music, Program of Voice. Accepted by the Doctoral Committee ___________________________________________________ Dr. Melissa Malde, D.M.A., Research Advisor ______________________________________________________ Dr. Mary Kathryn Brewer, D.A., Co-Research Advisor _______________________________________________________ Dr. Carissa Reddick, PhD., Committee Member _______________________________________________________ Dr. Connie Stewart, PhD., Faculty Representative Date of Dissertation Defense: March 22, 2021 Accepted by the Graduate School _________________________________________________________ Jeri-Anne Lyons, Ph.D. Dean of the Graduate School Associate Vice President for Research ABSTRACT Scroggins, Carissa. The Lullaby as Art Song: Engaging Repertoire for Study and Performance. Published Doctor of Arts dissertation, University of Northern Colorado, 2021. When selecting repertoire, teachers of singing do not often turn to lullabies. The consensus is they are too simple in melody, texture, and harmony to warrant attention. However, this commonly held view should be reconsidered because lullabies can offer dramatic text settings. Lullabies can be divided into two categories: those for practical use and those for performance. The latter are composed as art songs written from many perspectives. They can be nationalistic, violent, frustrated, funny, and can use sleep as a metaphor for the release of death. This wealth of subject matter and variety of styles and skill levels found in art song lullabies make them a viable choice for study and performance. While most lullabies conform to the expected characteristics (lilting meter, etc.), many stray away from the standard in surprising and expressive ways. This document includes a catalog of lullabies written for concert performance whose scores are readily available. The catalog is organized by language and includes the poet, source, key, and range for each song, providing singers and teachers of singing an aid in exploring this unusual and often ignored repertoire. iii ACKNOWLEDGEMENTS God – for giving me my love of children and a voice. My family – for your encouragement. Dr. Melissa Malde – for helping me learn graciousness. My Committee – for your hard work editing and support. Grand Mesa Southern Baptist Church – for being my cheerleaders. Sterling and Paula – for reminding me the best dissertation is a done dissertation and for the use of the house. Dr. Deborah Kauffman – for all you taught me about research and writing. Dr. Jonathan Bellman – for all you taught me about challenging myself and supporting my claims. Also, your book, which was invaluable. and finally, Dr. Mary Kathryn Brewer – for your abundance. You went above and beyond your job description of voice teacher. This dissertation truly would not have been possible without your mentoring and friendship. Thank you, Carissa Ah, music,' he said, wiping his eyes. 'A magic beyond all we do here! -Albus Dumbledore1 1 J.K. Rowling, Harry Potter and the Sorcerer’s Stone (NY: Scholastic, 1998), 95. iv TABLE OF CONTENTS CHAPTER I. INTRODUCTION ............................................................................................1 Thesis-Significance-Incidence-Delimitations Current Sources and Methodology Overview of Terminology and Concepts to be Explored II. QUINTESSENTIAL LULLABY ......................................................................8 Musical Traits of a Lullaby “Wiegenlied” by Johannes Brahms “Kolybel’naya” by Alexander Gretchaninov “A Lullaby” by Hamilton Harty “Berceuse” by Cécile Chaminade III. NATIONALISM/HERITAGE .........................................................................30 “American Lullaby” by Gladys Rich “Cancion de Cuna” Cinco Canciones Negras, no. 4 by Xavier Montsalvatge “The Highland Balou” A Charm of Lullabies, op. 41, no. 2 by Benjamin Britten “Kveld-sang for Blakken” op. 61, no. 5 by Edvard Grieg IV. PERSPECTIVE................................................................................................50 “Maria Wiegenlied” by Max Reger “Vuggesang” Romancer og Ballader af A. Munch, op. 9, no. 2 by Edvard Grieg “Berceuse d’amour” by Henri Lutz “Sleep” by Peter Warlock “Kolybel’naya” Pesni i plaski smerti, no. 1 by Modest Mussorgsky v V. SLEEP AS A METAPHOR FOR DEATH .....................................................73 “Berceuse d’Armorique” by Poldowski “Margretes Vuggesang” by Edvard Grieg “Berceuse de guerre” by John Alden Carpenter “Mutter, o sing mich zur Ruh” by Robert Franz VI. THREATS AND REWARDS .........................................................................94 “Berceuse” Cinq poèmes de Max Jacob, no. 4 by Francis Poulenc “The Little Horses” by Aaron Copland “Püppenwiegenlied” by Carl Reinecke “A Charm” A Charm of Lullabies, op. 41 no. 4 by Benjamin Britten VII. CONCLUSIONS............................................................................................110 BIBLIOGRAPHY ............................................................................................................115 APPENDIX A – LULLABY CATALOG .......................................................................123 vii LIST OF EXAMPLES Chapter II Example 2.1: Johannes Brahms, “Wiegenlied,” op. 49, no. 4, mm. 3-10..........................12 Example 2.2: Johannes Brahms, “Wiegenlied,” op. 49, no. 4, mm. 14-18........................12 Example 2.3: Alexander Gretchaninov, “Kolybel’naya,” 5 Songs, op. 1, no. 5, mm. 10-20 ..........................................................................17 Example 2.4: Hamilton Harty, “A Lullaby,” mm. 15-17 ...................................................21 Example 2.5: Hamilton Harty, “A Lullaby,” mm. 9-12 .....................................................22 Example 2.6: Cécile Chaminade, “Berceuse,” mm. 1-16 .................................................27 Chapter III Example 3.1: Gladys Rich, “American Lullaby,” mm. 1-6 ...............................................33 Example 3.2: Xavier Montsalvatge, “Canción de Cuna para Dormir a un Negrito,” Cinco Canciones Negras, no. 4, mm. 1-10 ...........................................................37 Example 3.3 .......................................................................................................................38 Example 3.4 .......................................................................................................................38 Example 3.5: Benjamin Britten, “The Highland Balou,” A Charm of Lullabies, op. 41, no. 2, mm. 1-7 .......................................................43 Example 3.6 .......................................................................................................................44 Example 3.7: Edvard Grieg, “Kveld-sang for Blakken,” 7 Barnlige Sange op. 61, no. 5, mm. 1-8 ...............................................................48 Chapter IV Example 4.1: Max Reger, “Maria Wiegenlied,” Schlichte Weisen op. 76, no. 52, mm. 1-6 ...................................................................... 53 Example 4.2: Max Reger, “Maria Wiegenlied,” Schlichte Weisen op. 76, no. 52, mm. 12-17 .................................................................. 53 Example 4.3: Edvard Grieg, “Vuggesang,” Romancer og Ballader af A. Munch, op. 9, no. 2, mm. 1-3 .......................................... 57 Example 4.4: Henri Lutz, “Berceuse d’amour,” mm. 29-43 ..................................................... 61 Example 4.5: Peter Warlock, “Sleep,” mm. 11-14..................................................................... 64 Example 4.6: Peter Warlock, “Sleep,” mm. 21-25..................................................................... 66 Example 4.7: Peter Warlock, “Sleep,” mm. 1-2; 11-14 ............................................................. 67 Example 4.8: Modest Mussorgsky, “Kolybel’naya” Pesni I plaski smerti no. 1, mm. 22-24 ..................................................................70 viii Chapter V Example 5.1: Poldowski, “Berceuse d’Armorique,” mm. 1-21 .........................................78 Example 5.2: Edvard Grieg, “Margretes Vuggesang,” Romanser, op. 15, no. 1, mm. 1-4 ..........................................................................81 Example 5.3: Edvard Grieg, “Margretes Vuggesang,” Romanser, op. 15, no. 1, mm. 22-27 ......................................................................83 Example 5.4: John Alden Carpenter, “Berceuse de guerre,” mm. 19-29 ..........................87 Example 5.5: John Alden Carpenter, “Berceuse de guerre,” mm. 60-64 ..........................89 Example 5.6: Robert Franz, “Mutter, o sing mich zur Ruh,” op. 10, no. 3, mm. 1-18