This dissertation examines the contributions of the early twentieth-century Chinese composer Huang Zi to the genre of Chinese art songs. It discusses how he combined Western compositional techniques with traditional Chinese music and ancient or contemporary Chinese poetry, focusing on his works 花非花 Flowers in the Mist, 点绛唇, 赋登楼 Ode to Ascending the Tower, 思乡 Missing Homelands, and 春思曲 Spring Nostalgia. Huang's songs, which created a bridge between East and West, are still significant today in China and deserve performance in the West, too. Translations and a phonetic guide to the four songs are provided so that Western singers have the tools they need to perform these songs.

Researchers of historic voice pedagogy texts have generally focused their objectives towards reviewing the recommendations of historic voice teachers pertaining to the physiological, acoustical, and musical elements of training singers; however, researchers have given less attention to the evidence of humanistic pedagogical elements presented by historic teachers of voice. This study aims to examine historic resources of vocal pedagogy for qualitative data representing exemplification of or advocacy for character strengths for voice teachers. Additionally, this study explores practical applications of character strengths within the context of the modern applied voice studio. In this context, character strengths are defined as the positive attributes of a personality that influence how a person thinks, feels, and behaves. In this document, historic pedagogical resources (N = 80) represent works published between 1811 and 1975. Using the scientifically validated VIA (Values-in-Action) Classification of Strengths, the relevant data extracted from these resources were categorized first into six virtues – wisdom, courage, humanity, justice, temperance, and transcendence. These data were further divided into the subcategories of character strengths based on descriptions located in seminal resources in character strengths research.

Chinese art songs—which are derived from over four thousand years of Chinese culture and combine unique Chinese literary and musical flavors with Western compositional techniques—remain largely unknown in the Western world. Chinese art song, a treasure of a genre, deserves more attention from Western singers and scholars. With a population of 1.41 billion, China has the largest potential market for bel canto singing. Not only will studying Chinese art songs enrich a singer's worldview and repertoire choices, doing so will also be advantageous when singing internationally. In order to assist non-Chinese-speaking singers overcome the difficult language barrier that often prevents them from studying Chinese art songs, I have chosen six songs by the renowned early twentieth century Chinese composer, Huang Zi (1904–1938) to analyze. Although he remains virtually unknown in the Western scholarly world, Huang's Chinese art songs, which include both ancient and contemporary Chinese poetry as well as Chinese and Western musical characteristics, are representative of this genre. By analyzing the poetry and musical settings of six Chinese art songs by Huang Zi, providing pronunciation instructions for Mandarin Chinese, word-for-word and poetic translations, practical International Phonetic Alphabet (IPA) transcriptions from the Pinyin system, and creating an interpretive guide of …

The German word Zwischenfach often refers to opera roles and singers whose voices lie between the categories of mezzo-soprano and soprano. While the term is not universally accepted as a voice category, Zwischenfach voices and roles are being discussed more openly and with more specificity in collegiate and professional circles. This document includes a discussion on the challenges of categorizing dramatic voices, mezzo-soprano voices, and those who could be considered Zwischenfach, taking into consideration the inherent ambiguity and flexibility within these voice categories. The elements that have led to developmental changes in opera voices and their categories over the centuries provide insight and context on how Zwischenfach has become a term that describes the ambiguity and challenge of classifying opera voices in the twenty-first century. A main focus of this document is a discussion of eleven pieces from twenty-first century American operas which a Zwischenfach singer could consider for auditions and performances. Operas included are: Dead Man Walking by Jake Heggie, The Grapes of Wrath by Ricky Ian Gordon, After Life and Glory Denied by Tom Cipullo, Lysistrata by Mark Adamo, Dinner at Eight by William Bolcom, and Fantastic Mr. Fox by Tobias Picker. My hope is that this document …

Wonju Lee (b. 1979) has already made her own unique contribution to Korean art song. Her songs commissioned by classical Korean music performers have been recorded and released on record labels such as Universal Music and Sony Music. Albums include the Gagok collection, Lee Hwa-woo, The Pear Blossom Falls published by Soo Moon Dang. Some songs have been published by music publishers in the United States such as Classical Vocal Reprints and in Korea by the Korean Traditional Music Resource Center. Wonju Lee's songs are being performed by singers not only in Korea but also in the United States. This study provides information regarding the history of Gagok (Korean art songs) and discusses two duets "Scent of Ink" and "Under the Cherry Tree," and three solo songs "Sam-Arirang," "Relationship," and "Loom Song" by Wonju Lee. This critical essay includes biographical information about the composer and poets, IPA transcriptions for each song, and both word-for-word and poetic translations. In addition, using the methodology from Carol Kimball's book Song: A Guide to Art Song Style and Literature, style sheets of musical characteristics for each song and for the composer are provided and serve as the basis for interpretive recommendations for performers.