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Proquest Dissertations "It is a song that I have made": A performer's perspective on ten early songs of Samuel Barber Item Type text; Dissertation-Reproduction (electronic) Authors Eckenroth, Karen Louise Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 06:53:14 Link to Item http://hdl.handle.net/10150/284070 INFORMATION TO USERS This manuscript has been reproducad from tha microfilm mastar. UMI films the text directly from ttia original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others nuiy t>e from any type of computer printer. The quality of this rBproduction ia dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality iHustrations and photographs, print Meedthrough, substandard margins, and improper alignment can adversely affsct reproduction. In the unlikely event that the author did rK>t serKJ UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be rsmoved. a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, t)eginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6* x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information arKl Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 "IT IS A SONG THAT I HAVE MADE": A PERFORMER'S PERSPECTIVE ON TEN EARLY SONGS OF SAMUEL BARBER by Karen Louise Eckenroth Copyright © Karen Louise Eckenroth 1999 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1999 UMI Number 9960275 Copyright 1999 by Eckenroth, Karen Louise All rights reserved. UMI^ UMI Microfomn9960275 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Infonmation and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 THE UNIVERSITY OF ARIZONA «> GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Karen Louise Eckenroth entitled "IT IS A SOKG THAT I tIAVE MADE": A PERFORMER'S PERSPECTIVE ON TEN EARLY SONGS OF SA>tUEL BARBER and recommend that it be accepted as fulfilling the requirements for the Degree of Dofttoc^of Musical Arcs Prof./Grayson Hirst Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fiilfiliing the requirement. /}-/-2-^/9 f Director Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations firom this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. 4 ACKNOWLEDGMENTS I wish to take this opportunity to thank the members of my graduate committee. Dr. Larry Day, Prof. Grayson Hirst and Dr. Paula Fan, for their support and encouragement during the course of this project, and throughout my graduate degree at the University of Arizona. I also wish to thank Dr. Josef Knott for his guidance during the development of the document proposal and Ms. Lyneen Elmore who aided in ways too numerous to mention. I owe a great deal of gratirude to Ms. Stacie Comstock whose talents and sensitivities as a musician and pianist were invaluable wd vital to the performance component of this project. I also wish to thank my newly found colleagues and friends at Otterbein College who graciously urged me toward tiie fulfillment of this degree. Beginning a new job is an overwhelming task in itself, and thanks to the support of my new "family", I was able to successfully complete my first year at Otterbein without losing sight of this final goal. Finally, to my wonderfiil friends, Diane, Bill, Mary, Kim, Richard, and Norene, I am truly grateful for your encouragement over the past few years. But more than that, I am thankful for your gift of friendship. 5 DEDICATION I wish to dedicate this document and degree to my parents, Fred and Dorothy Eckenroth, who have passed from this life on to the next Dear Mom and Dad, Although you didn't always understand what inner forces drove me to become a musician, you never dem'ed me the right to try. From piano lessons at age five through Master's and Doctoral recitals, you were always there, a little critical but always proud. If I had only one wish, I would wish for you to be here to share in this moment of accomplishment For no matter how much gratification I now feel, it is made bittersweet by your absence. I dedicate this document to you and your memory in the certainty that we will someday be together again. With all my love and gratitude, Karen 6 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES 7 ABSTRACT 10 INTRODUCTION 12 CHAPTER 1: THE COMPOSER- .7. 14 1. Background. 14 2. Compositional Style 21 CHAPTER 2: THE SONGS 23 1. Overview. 23 2. Barber's Choice of Poets 26 3. Analysis 28 "A Slumber Song of the Madonna" 28 "There's Nae Lark" 33 "Love at the Door" 36 "Serenader" 40 "Love's Caution" 43 "Night Wanderers" 48 "Of That So Sweet Imprisonment" 53 "Strings in the Earth and Air" 58 "Beggar's Song" 62 "In the Dark Pinewood" 68 CHAPTER 3: PERFORMANCE PERSPECTIVES 71 1. Technical Demands 71 2. Interpretation. 71 3. Role of the Accompanist 75 4. Voice Type 76 CONCLUSIONS 78 REFERENCES 90 LIST OF MUSICAL EXAMPLES "A Slumber Song of the Madonna", mm. 13-15 29 "A Slumber S<Mig of the Madonna", mm. 33-36 30 "A Slumber Song of the Madonna", mm. 37-40 31 "A Slumber Song of the Mculonna", mm. 21-22 32 "A Slumber Song of the Madonna", mm. 46-4T 32 "There's Nae Laric", mm. 1-3 34 "There's Nae Laric", mm. 2-5 34 "There's Nae Lari^', mm. 23-25 34 "There's Nae Laric", mm. 16-19 35 "Love at the Door", mm. 3-5.. 37 "Love at the Door", mm. 6-11 38 "Love at the Door", mm. 21-25 39 '*Love at the Door", mm. 27-30 39 "Serenader", mm. 1-5 41 "Serenader", mm. 32-36 41 "Serenader", mm. 33-39 42 "Love's Caution", graph 44 "Love's Caution", mm. 1-8 45 "Love's Caution", mm. 9-11 45 "Love's Caution", mm. 20-23 46 "Love's Caution", mm. 40-42 46 "Love's Caution", mm. 42-48 47 "Night Wanderers", mm. 1-4 49 '^ight Wanderers", mm. 6-9 49 "Ni^t Wanderers", mm. 14-17 50 "Night Wanderers", mm. 30-38 51 "Night Wanderers", mm. 46-47 52 "Night Wanderers", mm. 50-55 52 "OfThat So Sweet Imprisonment", mm. 1-6 54 "OfThat So Sweet Imprisonment", mm. 14-20 55 "OfThat So Sweet Imprisonment", nun. 33-37 56 "OfThat So Sweet Imprisonment", mm. 38-42 57 "Strings in the Earth and Air", mm. 1-8 58 "Strings in the Earth and Air", nmi. 3-4, 8-9, 12,23-24, 59 "Strings in the Earth and Air", mm. 15-21 60 "Strings in the Earth and Air", mm. 22-28 61 "Beggar's Song", mm. 1-7 63 "Beggar's Song", mm. 12-20 64 8 LIST OF MUSICAL EXAMPLES - Continued EXAMPLE 37, 'Beggar's Song", mm. 19-20 64 EXAMPLE 38, "Beggar's Song", mm. 26-40 65 EXAMPLE 39, "Beggar's Song", nun. 40-42 66 EXAMPLE 40, '3eggar's Song" naoL 46-49 66 EXAMPLE 41, "Beggar's Song", mm. 52-60 67 EXAMPLE 42, "In the Daik Pinewood", mm. 1-3 68 EXAMPLE 43, "In the Dark Pinewood", mm. 1-6 69 EXAMPLE 44, "IntheDaricPinewood", mm. 10-lL. 69 EXAMPLE 45, "In the Daiic Pinewood", mm. 14-19 70 EXAMPLE 46, "In the Daric Pinewood", mm. 20-22 70 EXAMPLE 47, "Love at the Door", mm. 3-5 73 EXAMPLE 48, "Serenader", mm. 1-12 74 EXAMPLE 49, "Beggar's Song", mm. 37-40 75 EXAMPLE 50a, "Love's Caution", mm. 1-4 78 EXAMPLE 50b, "A Nun Takes the Veil", mm. 1-3 79 EXAMPLE 50c, "St Ita's Vision", mm. 30-31 79 EXAMPLE 51a, 'Tombeau dans un pare", mm. 12-16 80 EXAMPLE 51b, "The Heavenly Banquet", mm. 1-3 80 EXAMPLE 51c, "In the Dark Pinewood", mm. 10 80 EXAMPLE 52a, "Sure on this Shining Night", hmil 21-24 81 EXAMPLE 52b, "The Monk and His Cat", mm.
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