Song Settings of Heinrich Heine: a Comparative Analysis of Song Settings from the Poetry Perspective
SONG SETTINGS OF HEINRICH HEINE: A COMPARATIVE ANALYSIS OF SONG SETTINGS FROM THE POETRY PERSPECTIVE BY ELISABETH MARSHALL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Johannes Türk, Research Director __________________________________ Carol Vaness, Chairperson __________________________________ Timothy Noble __________________________________ Patricia Stiles ii ACKNOWLEDGMENTS The author wishes to express her sincere gratitude to Johannes Türk, research director, for his long-suffering, generous, and careful guidance; to chairperson Carol Vaness for her consistent encouragement and unfailing support; to committee members Timothy Noble and Patricia Stiles for their faithful contributions of time and support, without which completion of this project would have been impossible. I also wish to thank Oscar Strasnoy, for his time and interviews via e-mail, and especially my friend and colleague, James Kallembach, for his invaluable assistance in the editing process. iii PREFACE Today there is an almost obsessive concern with the question of what is the “most accurate” historical performance of a given piece of music. In many performances and ensembles this leads to an investigation into the types of instruments or techniques of singing used in a given period, the number of performers employed, and other ensemble and technical concerns. Related to this concern for historical performance, but perhaps not as often considered, is the issue of the relationship between the original poem and a musical setting.
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