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The Songs/Poems of Canadian Artists Leslie Uyeda and Lorna Crozier

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The Songs/Poems of Canadian Artists Leslie Uyeda and Lorna Crozier Western University Scholarship@Western Electronic Thesis and Dissertation Repository 10-7-2019 11:00 AM Creative Collaborations: The Songs/Poems of Canadian Artists Leslie Uyeda and Lorna Crozier Jennifer Cyr The University of Western Ontario Supervisor Veblen, Kari The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Jennifer Cyr 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation Cyr, Jennifer, "Creative Collaborations: The Songs/Poems of Canadian Artists Leslie Uyeda and Lorna Crozier" (2019). Electronic Thesis and Dissertation Repository. 6629. https://ir.lib.uwo.ca/etd/6629 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Composer Leslie Uyeda and poet Lorna Crozier inspire, create, and collaborate in real time. Uyeda and Crozier have an exceptional creative collaboration as they have collaborated on 9 song cycles in the past 12 years and the subject matter of much of their art can be seen as cultural reflections and critiques. This is evident in the song cycle The First Woman which speaks of the silencing of women’s voices through the tales of Lilith and Eve in the garden of Eden and the rape of Dinah, Jacob’s daughter. To successfully collaborate on 9 song cycles is a feat in itself, but to also create art that embraces challenging emotions and topics concerning current gender issues is remarkable. Through a singular case study analysis consisting of in-depth interviews and musical score analysis, this monograph aims to not only provide a performance guide to two Uyeda and Crozier creations, White Cat Blues and The First Woman, but to also uncover what makes their creative collaboration process so unique and effective. Within the performance guide, the poetry is examined discovering theme, tone, structure, language devices, and imagery. The music is analyzed focusing on structure, style, basic har- mony, and the relationship between the text and music, highlighting specific areas of word painting. The performance guide concludes with an examination of the vocal technical chal- lenges presented to the singer, with possible solutions. Accompanying the performance guide are recordings of four Uyeda and Crozier art song collaborations. To date, the researcher has not identified any contemporary research studies of creative collaboration in solo Canadian vocal work. The information about Uyeda and Crozier in com- bination with the performance guide to White Cat Blues and The First Woman serve as a great resource for teachers, singers, and pianists. Keywords: Leslie Uyeda, Lorna Crozier, White Cat Blues, The First Woman, Creative Col- laboration, Canadian Art Song, Canadian Poetry, Female Canadian Composer, Female Cana- dian Poet, Canadian Vocal Music, Art Songs for Soprano i Summary for Lay Audience The collaboration between art forms has been an essential component in inspiring creative genius. This monograph looks at the collaboration between a poet and composer who are work- ing together now. Composer Leslie Uyeda and poet Lorna Crozier inspire, collaborate and cre- ate together in real time. This research uncovers what makes their creative collaboration special and provides a performance guide to two of their works for singer and piano: White Cat Blues and The First Woman. Within the performance guide, the poetry is analyzed discovering theme, tone, structure, and language devices. The music is analyzed focusing on structure, style, basic harmony, and the relationship between the words and the music. The performance guide con- cludes with suggestions for the singer to navigate the challenging technical requirements of the songs. The performance guide will serve as a great resource for teachers, singers, and pianists. Uyeda and Crozier’s art is worthy of research because they have not only created 9 song cycles, but their art also discusses current socially debated issues including gender. For art to shed light on the abuse of women and to challenge the listener to ponder these issues is truly remarkable. It is hoped this research will promote the work of Leslie Uyeda and Lorna Crozier and continue the necessary dialogue in support of a world where women’s voices are heard and not silenced. ii Acknowledgments I would like to extend my sincere thanks to many people for the support I received during this research. Firstly, I would like to express my deepest appreciation to my supervisor, Dr. Kari Veblen and my voice teacher and second reader, Patricia Green, for their knowledge, pa- tience, and guidance. Dr. Veblen helped immensely in shaping the direction of my monograph and gave invaluable advice on content and writing style. Patricia Green’s vast knowledge of contemporary repertoire was a wealth of information for me and I am also very grateful for the wonderful voice lessons I received throughout my degree. The completion of this dissertation would not have been possible without Leslie Uyeda and Lorna Crozier. I cannot begin to express my gratitude for sharing your art and creative processes with me. A special thanks also goes to sopranos, Robyn Driedger-Klassen and Heather Pawsey, for allowing me to interview them. I would also like to thank my friends and colleagues at Western, in particular Samantha Lee, who performed Uyeda’s Sex Lives of Vegetables Volume III, White Cat Blues, Mother and I, Walking, and Midnight Watch in recital with me at Western. Lastly, this journey would not have been possible without the support of my family. Thank you for always believing in me and for encouraging me to follow my dreams. I am very grateful to my parents, William and Diane, as well as my sisters Danielle and Kaitlin, and my beloved dog, Koda. To my husband, Federico Pasini, I am forever thankful for your love, constant support, and unfailing encouragement. iii Contents Abstract i Summary for Lay Audience ii Acknowledgments iii List of Figures viii List of Appendices xi Preface xi 1 Introduction 1 1.1 Methodology . 2 1.1.1 Procedure: Biographical Phase . 4 1.1.2 Procedure: Collaborative Context . 6 1.2 Significance and originality of this research . 7 1.3 Limitations of this research . 7 1.4 Practical applications of this research . 8 1.5 Chapter outlines . 8 2 Review of literature 10 2.1 Female composers in Canada and the United States . 10 2.2 Musical Collaboration . 14 2.3 Gender and composition . 19 2.4 Conclusions . 23 3 Leslie Uyeda 24 3.1 Biography . 24 3.2 Compositional Inspirations . 26 3.3 Composition Process . 27 iv 3.4 Compositional Insights . 29 3.5 Collaboration Process with Lorna Crozier . 30 3.6 Female Composer in Canada . 32 3.7 Conclusions . 33 4 Lorna Crozier 34 4.1 Biography . 34 4.2 Poetic Inspirations and Influences . 35 One Willow Grows . 35 Midnight Watch (after Thomas Hardy’s “The Oxen”) ....................... 36 Dinah, Jacob’s Daughter . 37 4.3 Creative Process . 38 4.4 Collaboration Process with Leslie Uyeda . 40 4.5 Female Poet in Canada . 43 4.6 Conclusions . 43 5 White Cat Blues Analysis 45 5.1 Overview . 45 5.2 Leslie Uyeda’s Insights . 46 5.3 Lorna Crozier’s Insights . 47 5.4 Robyn Driedger-Klassen’s Insights . 48 5.5 “White Cat Blues” Musical Analysis Summary . 49 5.6 “White Cat Blues” Analysis . 50 White Cat Blues . 50 5.6.1 Poetry Analysis . 50 5.6.2 Musical Analysis . 52 5.7 “The Colour Blue” Analysis . 57 The Colour Blue . 57 5.7.1 Poetry Analysis . 57 5.7.2 Musical Analysis . 58 5.8 “Shadow” Analysis . 64 Shadow . 64 5.8.1 Poetry Analysis . 64 5.8.2 Musical Analysis . 66 5.9 Uyeda and Crozier’s Collaboration . 72 5.10 Vocal Technical Considerations . 73 v 5.11 Analysis Chart . 76 5.12 Conclusions . 77 6 The First Woman Analysis 78 6.1 Overview . 78 6.2 Lorna Crozier’s Insights . 79 6.3 Leslie Uyeda’s Insights . 79 6.4 Heather Pawsey’s Insights . 80 6.5 The First Woman Musical Summary . 81 6.6 “The First Woman” Analysis . 82 The First Woman . 82 6.6.1 Poetry Analysis . 83 6.6.2 Musical Analysis . 86 6.7 “The Fall of Eve” Analysis . 97 The Fall of Eve . 97 6.7.1 Poetry Analysis . 98 6.7.2 Musical Analysis . 99 6.8 “Dinah, Jacob’s Daughter” Analysis . 105 Dinah, Jacob’s Daughter . 105 6.8.1 Poetry Analysis . 106 6.8.2 Musical Analysis . 107 6.9 “Who is She, Then?” Analysis . 112 Who is She, Then? . 112 6.9.1 Poetry Analysis . 113 6.9.2 Musical Analysis . 114 6.10 Uyeda and Crozier’s Collaboration . 120 6.11 Vocal Technical Considerations . 121 6.12 Analysis Chart . 124 6.13 Conclusions . 125 7 Conclusions 126 7.1 Research Discoveries . 126 7.2 Implications . 131 7.3 Recommendations for Future Studies . ..
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