Title page for ETD etd-11112009-210447

Type of Document Dissertation
Author Grundstad Hall, Emily
URN etd-11112009-210447
Title All My Pretty Ones by Stephen Paulus; A Song Cycle for Soprano and Piano on a Text by Michael Dennis Browne
Degree Doctor of Musical Arts (D.M.A.)
Department Music
Advisory Committee
Advisor Name Title
Bade, Lori Committee Chair
Grayson, Robert Committee Member
O'Neill, Patricia Committee Member
Simms, Loraine Committee Member
Ricapito, Joseph Dean's Representative
  • Des Moines Metro Opera
  • Libby Larsen
  • Minnesota Composers Forum
  • Anne Sexton
  • Dominick Argento
  • Paul Fetler
  • Harmoonia
  • Writer's Workshop
Date of Defense 2009-10-14
Availability unrestricted
Stephen Paulus (b. 1949) is emerging as one of America’s accomplished composers for

the voice. He is skilled in writing sensitively for the demands of the solo voice and is

becoming known as an important contributor to the genre with approximately 50 art

songs, 12 song cycles as well as 10 operas and 250 choral pieces. This paper will discuss

the song cycle, All My Pretty Ones, for soprano and piano, which was published in 1984

with a text by Michael Dennis Browne. The cycle was Paulus and Browne’s first

collaboration and since its conception the two have continued to work together on operas,

oratorios, and song settings. All My Pretty Ones, consists of eight songs and was

commissioned by a National Endowment for the Arts as a Composer/Librettist


The written document is composed of five chapters and will introduce Paulus as a prolific

American composer, provide performance considerations, as well as an overview and

interpretation of the song cycle and its poetry. Chapter One provides biographical

information on Stephen Paulus. Chapter Two includes information pertaining to Paulus’

compositional style and inspiration in composing. Chapter Three includes biographical

information on poet, Michael Dennis Browne as well as a comprehensive interpretation

of the eight songs of the cycle. Chapter Four contains a detailed examination of the

musical settings of the eight songs, and finally, Chapter Five will draw conclusions.

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