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ContributorsBuck, Nancy (Performer) / Ryan, Russell E. (Performer) / Weiss, Stephanie (Performer) / D'Avanzo, Dian (Performer) / ASU Library. Music Library (Publisher)
Created2021-09-26
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Dr. SoonAe Kim was one of the first Korean female composers to contribute substantial works for kagok, or the Korean art song. In 1920, the year she was born, Korean society was undergoing critical changes throughout the nation as a result of wars, colonization, and political upheaval. Due to these

Dr. SoonAe Kim was one of the first Korean female composers to contribute substantial works for kagok, or the Korean art song. In 1920, the year she was born, Korean society was undergoing critical changes throughout the nation as a result of wars, colonization, and political upheaval. Due to these circumstances, Dr. Kim had to deal with multiple unexpected events like most Korean people had during the period. The experiences she faced tremendously influenced her musical identity and composition. This paper will examine three significant factors, such as Christianity, the Korean War, and kagok (Korean Art Song), that affected Dr. Kim’s professional musical identity and composition. Christianity helped her to affirm her independent and brave identity as a female composer and Christian hymn gave numerous inspiration to her music. The Korean War gave her the strength and ability to overcome extreme hardship. It also gave her deep empathy for Korean people and their experiences, which affected the atmosphere in her music. Lastly, kagok, the art form for which she received her greatest enthusiasm, became her main power for encouraging Korean people’s spirits to recover a peaceful and stable life. SoonAe Kim dealt with her despairs bravely throughout her entire life and successfully overcame them with her music and became an irreplaceable figure in Korean Western-music history. I heartily believe it is essential to study her musical identity and unique compositional style, especially in kagok, to appreciate SoonAe Kim’s importance as a significant female musician. This document will also serve as a performance guide for non-Korean singers and musicians who want to perform Korean art songs yet are hindered by the language and cultural barrier. This performance guide includes the International Phonetic Alphabet for the Korean language, companion pronunciation recordings, and a brief musical analysis. The performance guide will encourage better access and performances of Korean art songs by foreign artists and singers who are not familiar with the Korean language and bring kagok and SoonAe Kim into the universal art song canon.
ContributorsYun, Yijeong Isabel (Author) / Weiss, Stephanie (Thesis advisor) / Mills, Robert (Committee member) / Solís, Ted (Committee member) / Arizona State University (Publisher)
Created2021
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ABSTRACT

Emilie Mayer (1812-1883) was a prolific composer whose musical works, which encompassed eight symphonies, four overtures, an opera, dozens of sonatas, eight string quartets, solo piano works, and nearly 130 songs for solo voice or vocal quartet, were performed in the foremost concert halls in Berlin and across Germany. She

ABSTRACT

Emilie Mayer (1812-1883) was a prolific composer whose musical works, which encompassed eight symphonies, four overtures, an opera, dozens of sonatas, eight string quartets, solo piano works, and nearly 130 songs for solo voice or vocal quartet, were performed in the foremost concert halls in Berlin and across Germany. She studied with lauded teachers: Carl Loewe (1796-1869), Adolph Bernhard Marx (1795-1866), and Wilhelm Wieprecht (1802-1872). Her talent was applauded by audiences and critics wrote favorably, despite their reservations about women composers. However, even with this unusual pedigree, Mayer’s works nearly disappeared from concert stages after her death. How did this happen? This study aims to answer this question and will delve into Emilie Mayer’s life and works in context with the prejudices against female composers at the time, in order to determine how those biases have shaped the classical canon. Included is an in-depth stylistic analysis of Mayer’s surviving seven Lieder, along-side comparisons to similar works of other composers. In addition, appendices present Mayer’s remaining Lieder in a new, modernized edition, with selected songs transposed for better accessibility for lower voices. Relative lack of female representation in modern-day concert halls and music history books correlates to previous misconceptions of female composers. Studying the works of Emilie Mayer will support her addition to the classical repertoire, help correct the male-gendered canon that persists, and help modern female composers realize their history is not confined to a footnote.
ContributorsSadownik, Stephanie Beth (Author) / Weiss, Stephanie (Thesis advisor) / Norton, Kay (Thesis advisor) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2020