Lori Laitman: the influence of prosody on melodic content, accompaniment, and form in the songs "will there really be a `morning'?" and "dear march"

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dc.contributorFleming, Susan C.
dc.contributorPeles, Stephen
dc.contributorGille, Tanya
dc.contributorBiermann, Joanna Cobb
dc.contributorAversa, Elizabeth Smith
dc.contributor.advisorHoughtaling, Paul H.
dc.contributor.authorBryant, Jennifer Michelle
dc.contributor.otherUniversity of Alabama Tuscaloosa
dc.date.accessioned2017-03-01T16:35:24Z
dc.date.available2017-03-01T16:35:24Z
dc.date.issued2012
dc.descriptionElectronic Thesis or Dissertationen_US
dc.description.abstractThe process by which an art song composer writes is central in understanding his or her artistic persona. It is through the recognition of this process that we see the creative principles in each artist. For composer Lori Laitman, an emotional response to the words is the first step in her process. This response includes an awareness of the formal structure of a poem as well as attention to the natural word stress and dramatic delivery of each phrase. Therefore, the fundamental properties of her songs--melody, accompaniment and form-- are determined by the text. Laitman has set the poetry of Emily Dickinson with frequency throughout her career. Therefore, in order to explore Laitman's compositional process and artistic persona this document will study two of her Dickinson settings, "Will There Really Be A `Morning'?" and "Dear March" with a particular interest in the formal organization and melodic design of the songs in relation to meter, word and phrase inflection, and overall character in the poems. Following a brief introduction, Chapter Two presents an overview of Laitman's musical education and experiences. While studying for a performance degree at Yale University, she took a course in film composition. This proved to be a pivotal experience for Laitman as she was exposed to the many facets of dramatic music, in particular, understanding mood in text and communicating that mood through music. The next chapter explores the writing style of Emily Dickinson with a focus on verse patterns and punctuation as well as the aphoristic qualities of her poetry. The purpose of this chapter is to reveal significant attributes of Emily Dickinson's writing style, which influence Laitman's musical interpretations. Chapter Four provides an examination of Laitman's musical settings, "Will There Really Be A `Morning'?" and "Dear March." The analyses will focus on melodic construction and form in relation to the structure of the poem. Finally, in order to further define Laitman's style, Chapter Five will include a comparative study of her settings with musical settings of the same poems by Aaron Copland ("Dear March") and Richard Hundley ("Will There Really Be A Morning?").en_US
dc.format.extent92 p.
dc.format.mediumelectronic
dc.format.mimetypeapplication/pdf
dc.identifier.otheru0015_0000001_0001071
dc.identifier.otherBryant_alatus_0004D_11303
dc.identifier.urihttps://ir.ua.edu/handle/123456789/1553
dc.languageEnglish
dc.language.isoen_US
dc.publisherUniversity of Alabama Libraries
dc.relation.hasversionborn digital
dc.relation.ispartofThe University of Alabama Electronic Theses and Dissertations
dc.relation.ispartofThe University of Alabama Libraries Digital Collections
dc.rightsAll rights reserved by the author unless otherwise indicated.en_US
dc.subjectMusic
dc.titleLori Laitman: the influence of prosody on melodic content, accompaniment, and form in the songs "will there really be a `morning'?" and "dear march"en_US
dc.typethesis
dc.typetext
etdms.degree.departmentUniversity of Alabama. School of Music
etdms.degree.disciplineMusic
etdms.degree.grantorThe University of Alabama
etdms.degree.leveldoctoral
etdms.degree.nameD.M.A.
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