Chamber Music for Solo Voice and Instruments: 1960-1980
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Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1983 Chamber Music for Solo Voice and Instruments: 1960-1980. Kenneth Sheldon Klaus Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Klaus, Kenneth Sheldon, "Chamber Music for Solo Voice and Instruments: 1960-1980." (1983). LSU Historical Dissertations and Theses. 3928. https://digitalcommons.lsu.edu/gradschool_disstheses/3928 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microfilming. 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Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 8409584 Klaus, Kenneth Sheldon CHAMBER MUSIC FOR SOLO VOICE AND INSTRUMENTS: 1960-1980 The Louisiana State University and Agricultural and Mechanical Col. Ph.D. 1983 University Microfilms International 300 N. Zeeb Road, Ann Arbor, Ml 48106 Copyright 1984 by Klaus, Kenneth Sheldon All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAMBER MUSIC FOR SOLO VOICE AND INSTRUMENTS: 1960-1980 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Kenneth Sheldon Klaus B.M., Louisiana State University, 1974 M.M., Louisiana State University, 1976 December 1983 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS Many persons have aided in the research, development, and writing of this dissertation. Above all I would like to especially thank my loving wife, Darlene, for her constant support of my endeavors and for typing this paper. To Dr. Otis B. Wheeler, Professor Emeritus of Eng lish at Louisiana State University, I would like to express my genuine appreciation for providing the word processor on which this report was written and for the generous contribution of his time in the instruction of its use. I would also like to thank my mother, Mrs. Marian Klaus and my wife's parents, Mr. and Mrs. Calvin J. Arceneaux, for providing us with a home in which to live and work. My committee members have been helpful with their advice, and I would particularly like to thank Dr. Robert Shambaugh, chairman, Dr. Wallace McKenzie and Professor Paul Louis Abel. Numerous persons at music libraries have been helpful but none more so than Charles L. Sens, reference librarian in the music division of the Library of Congress. The entire music staff at the Library of Congress did everything in their power to aid me in every way possible. Mary H. Stein, reference librarian at the Louisiana State University library also was very helpful. Other librarians must remain anonymous however, because I did not learn their names. ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The music library at Florida State University is truly remarkable and their staff most courteous. Other libraries which granted courte sies to me include North Texas State University, Southern Methodist University, University of Southern Mississippi, and Copiah-Lincoln Junior College. While some publishing companies ignored my requests for exami nation scores, several companies were most helpful. Mr. Frank Billack of C. F. Peters Corporation, Ms. Elsa Peterson of European American Music Distributors, and Ellen McKee of Boosey & Hawkes and W. Stewart Pope, president of Boosey & Hawkes, were very cooperative and understan ding. Theodore Presser Co. did not send scores but did send a large package of catalogs, including many foreign publications. Dale Music Company of Silver Spring, Maryland, was an excellent source for scores. Their kindness to me was exceptional. Since the music from these compa nies was furnished for my use at no charge, I would like to encourage the reader to purchase music from them whenever possible. It would not be right to neglect to mention the two persons who have had the greatest influence on my musical life, my father, the late Dr. Kenneth B. Klaus, and my voice teacher, the late Dr. Earl Redding, both of whom were Alumni Professors of Music at Louisiana State Univer sity before their untimely deaths. Without their love and wonderful influence over a period of many, many years, this paper may not have been written. Lastly I would like to thank Christopher Fyler Klaus, my three year old son for his patience and love. He has brought a smile to my face many times when I did not feel like smiling. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ACKNOWLEDGMENTS ............................................. ii ABSTRACT ................................................... v Chapter I. INTRODUCTION ......................................... 1 Statement of the P r o b l e m ............................ 1 Significance of the Study ............................ 2 Delimitations ........................................ 2 Definition of Terms .................................. 3 Method of Investigation .............................. A Development of Remainder of Report ................... A II. VOCAL LITERATURE AND MUSICAL PRACTICES OF THE TWENTIETH CENTURY .............................. 6 III. ANNOTATED LISTING OF CHAMBER MUSIC FOR SOLO VOICE AND INSTRUMENTS WRITTEN BETWEEN 1960 AND 1980 .......................... 22 Section I: Soprano or (Tenor) ...................... 23 Section II: Mezzo-soprano or (Baritone) ............. 12A Section III: A l t o ................................... 153 Section IV: T e n o r .................................. 161 Section V: Baritone and B a s s ...................... 173 Section VI: Medium Vo ice............................ 196 Section VII: Miscellaneous .......................... 211 IV. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS ............... 21A Summary............................................. 21A Conclusions.......................................... 216 Recommendations...................................... 218 BIBLIOGRAPHY.................................. 220 VITA ....................................................... 223 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Throughout the course of musical history, a multitude of works for solo voice with instrumental accompaniment has been written. Works with only keyboard accompaniment dominate the literature. Works with other than keyboard accompaniment, but not full orchestral accompaniment, occupy a much smaller but still important place in the literature. There is a relative lack of chamber music for solo voice and instruments particularly from the Classical and Romantic periods. However, composing for the human voice has caught the attention of many twentieth-century composers. The contemporary composer, in his search for new textures and timbres, has increasingly