Title page for ETD etd-05212005-102450


Type of Document Dissertation
Author Jun, Joo Won
Author's Email Address jjun1@lsu.edu
URN etd-05212005-102450
Title The Compositional Style of Judith Lang Zaimont as Found in Nattens Monolog(Night Soliloquy), Scena for Soprano Voice and Piano with Text by Dag Hammarskjöld
Degree Doctor of Musical Arts (D.M.A.)
Department Music
Advisory Committee
Advisor Name Title
Lori Bade Committee Chair
Jeffrey Perry Committee Member
Patricia O'Neill Committee Member
Robert Grayson Committee Member
Denyce Celentano Dean's Representative
Keywords
  • nattens monolog
  • judith lang zaimont
  • scena
Date of Defense 2005-05-03
Availability unrestricted
Abstract
American composer, Judith Lang Zaimont (b. 1945), has composed a considerable number of solo vocal works as well as multiple works encompassing a variety of genres. Zaimont's Nattens Monolog (Night Soliloquy), scena for soprano and piano, is one of several lengthy solo vocal works. Although written for solo voice, the music takes on the form of opera without operatic materials such as costume or staging. Commissioned by Arleen Auger, soprano, and Dalton Baldwin, pianist, Nattens Monolog was composed in 1984 and first performed by them at Lincoln Center in March of 1985.

The primary focus of this paper will be to: 1) share information regarding Judith Lang Zaimont the composer, 2) provide information regarding the writer of the text, Dag Hammarskjöld and 3) highlight compositional techniques of Judith Lang Zaimont found in Nattens Monolog. The intention is also to give the singer a guide for preparation of this work through in-depth commentary and exploration of the text.

The written document is comprised of five chapters: Chapter One provides biographical information and commentary on the compositional style of Judith Lang Zaimont; Chapter Two introduces Dag Hammarskjöld and his journal, Markings; Chapter Three makes in-depth commentary and exploration of the text; Chapter Four contains a detailed, theoretical study of Nattens Monolog; and, finally, the Conclusion is found in Chapter Five. An Appendix follows Bibliography containing the complete listing of Zaimont’s solo vocal works.

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