Type of Document Dissertation Author Jun, Joo Won Author's Email Address firstname.lastname@example.org 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
Date of Defense 2005-05-03 Availability unrestricted AbstractAmerican 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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