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CALIFORNIA STATE UNNERSITY, NORTIIRIDGE ABSTRACT OF GRADUATE RECITAL by Scott Francis Roper December 1992 The Abstract of Scott Francis Roper is approved: David W~ Scott Judith,.Scott Linda Stones, Chair- California State University, Northridge ii In the songs of John Dowland, the transparent texture of the guitar's polyphonic accompaniment together with the poetic lyricism of the vocal line make an excellent intimate beginning set in recital. In contrast, Bellini's bel canto developed vocal melodies have much more lines than those of earlier periods such Dowland's. Along with Donizetti, as Bellini is instrumental in the expansion of the vocal repertoire which reached a culminating point in the operas of Verdi. He is known for his long melancholy legato phrases with very little repetition of motives. Though the three Italian songs presented in the recital are not part of his operatic output, they are an excellent representation of the individual style of his cantabile vocal writing. Because of the extensive corrections and emendations in his autographed scores, it is believed by some that he was, more than his contemporaries, dedicated to the perfect union of words and music. Berlioz' Melodies lrlandaises. Opus 2 is considered to be the first group of melodies. Although the genre was not fully developed until the publication of Schubert's Lieder in France, these pieces have a personal charm and are stylistically comparable to the famous French song form. In the music of Jules Massenet , one may see the traits of earlier French composers such as Monsigny, Thomas and Gounod. His melodies have been described as lyrical, tender, penetrating, sweetly sensuous, rounded in contours, sentimental, and often melancholy. He excelled in the depiction of passionate love which 1 explains the popularity of the beautiful and touching aria, "En fermant les yeux", from Manon. Although Benjamin Britten never fully embraced twentieth century trends, such as twelve-tone technics and serialism, some of his works such as Sinfonjetta and The Turn of the Screw bear the influence of Schoenberg and Berg. He reacted to 'modern' trends in a way that is referred to as neo-classic. His phrase structures are often diatonically constructed, vocal in origin, and based on triadic harmonies, however, he also used multi-tonality and tonal ambiguity as tools of expression. At times these elements present the singer with a difficult challenge in the execution of rhythms and melodies. Britten's instrumental personal timbres style and he was often particularly experimented sensitive with to unusual combinations of instruments such as his use of French horn and tenor voice in the Serenade. Moreover, Britten's setting of Classical poetry provides a vivid musical depiction of fears. 2 nocturnal fantasies and