This dissertation explores the existing literature written by and related to Alma Mahler and identifies some approaches for reevaluating her legacy as a composer. ![]() Increasingly, however, interest in Alma Mahler as a composer has been nurtured through creative engagement with that legacy, and frequently by women authors and artists. Despite her musical training, demonstrated passion for music, and publication of several Lieder, Mahler’s identity as a composer has remained overshadowed by narratives surrounding her personal life and those of her husbands and lovers, not to mention the artistic work of her husbands and lovers. 2) explore blurred boundaries and quasi-parallel constructions within sectional formal designs.Īlma Mahler (1879–1964) grew up surrounded by artists in late nineteenth-century Vienna. Finally, analyses of “Sweetheart, Sigh No More” (op. 2) highlights complex principles of strophic modification in which the melody preserves strophic structure but the harmony and texture depart from strophic design. An analysis of “Ah, Love, but a Day!” (op. ![]() ![]() 3) demonstrate additions to and departures from strophic design. In order to explore form in Beach’s art songs that resist simple classification, I develop a new model for interpreting song form that situates songs based on the nature of recurring material, from strophic (maximal recurring material) to through-composed (minimal recurring material). American composer Amy Beach wrote over a hundred art songs, many of which comprise compelling hybrid formal designs that fuse principles of modified strophic form with other formal schemes.
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