Judith E. Carman holds the B.M. and M.M. degrees (Peabody College)
in vocal performance with minors in piano and languages, the D.M.A.
in vocal performance and pedagogy (University of Iowa), and has
taught singing and related subjects at the university level and in
the private studio for 40 years. She writes the Music Review column
for the Journal of Singing and has given numerous presentations of
American art song.
William K. Gaeddert, Professor Emeritus, Baker University, is
retired after 45 years of teaching singing at the high school and
university levels and in his private studio. He holds the M.F.A in
vocal performance and the Ph.D. in Music Literature (University of
Iowa), with research interests in the songs of Robert Franz as well
as the art song of the United States, and is a member of the
National Association of Teachers of Singing.
Rita M. Resch, Professor Emerita of Music, University of Central
Missouri, has taught singing, piano accompanying, and related
subjects for more than 30 years. She holds the D.M.A. in piano
accompanying and chamber music and the M.F.A. in vocal performance
(University of Iowa), an M.A. in English and American Literature
(University of North Dakota), and an M.M. in Music Literature
(Eastman School of Music, University of Rochester).
In this select bibliography (more than 2,500 entries) of solo vocal
pieces with piano for practice and recital use, a set or song
cycle—The Aids Quilt Songbook, for example—is listed under its
title followed by its composers. Other entries are listed by
composer (and under composer, by song title). Information on voice
type, mood, piano style, and difficulty of the piece is provided.
Beyond a classification of voice, such as soprano or tenor, rhythm
and phrasing challenges are noted. Mood descriptions like
“humorously philosophical” or “ecstatic love song” give a helpful
interpretation of the song. Piano style can be “block chords
throughout” or “very chromatic,” for example. Difficulty can be
cited as “many tempo changes” or “highly complex and dissonant.”
Recommendations for use are also included, such as “interesting and
attractive cycle for an advanced graduate soprano” or “vigorous
song for baritone with flair for the style.” The discography
references recordings (anthologies and single composer), where
available. Back matter offers an appendix that includes
compositions with foreign language texts, a chronological list of
composers and a list of references, and indexes of titles,
composers, and poets (William Shakespeare, Sara Teasdale, William
Blake). VERDICT This specialized resource covers a lengthy time
span and is aimed at teachers, students, performers, and
researchers. A reliable source for a quick, informative profile of
art song, of particular interest to music and academic
libraries.
*Library Journal*
The first edition of this comprehensive bibliography was published
in 1978, and subsequent supplements and editions have each
increased the coverage. This edition contains 2,850 entries, 470 of
which are new. Entries are arranged by composer and by song title
under the specific composer, and among the many details provided
are the publisher, date of composition, key, vocal range, mood,
length, voice type, and recording. There are indexes by composer,
poet, special characteristics/subjects, and title. A discography
supplements the bibliography with lists of anthology recordings and
single-composer recordings. Recommended for academic library
collections that support vocal- and performance-studies
programs.
*Booklist*
For anyone curious about the rich American song repertoire, this
volume is invaluable. It gives teachers, singers, and pianists a
great deal of information about the music, the poetry, the
suitability for a particular voice—in short everything necessary to
lead performers to find just what they're looking for. I wouldn't
be without it.
*Paul Sperry, classical singer*
The fourth edition (3rd ed., 1759-1999, CH, Jun'02, 39-5522) of
this annotated bibliography of American art songs for solo voice
with piano stays true to the strengths of preceding editions.
Written by Carman (independent scholar), Gaeddert (emer., Baker
Univ.), and Resch (emer., Univ. of Central Missouri), it features
470 new entries for a total near 2,900. The arrangement of the
material is essentially the same, but select updates merit
mentioning. Alternate keys found in song anthologies are included
in the entries, and the octave designation was changed to the
Acoustical Society of America system. Several newer and rising
composers are included here, whereas earlier editions focused more
on mid-20th-century compositions. The late Gordon Meyers's special
section on early American art song is still present, but no new
sections are introduced. Compiled discography sources have expanded
to include enduring Internet services such as AllMusic (CH, Sup'06,
43Sup-0163) and Amazon.com. Although Keith Clifton's Recent
American Art Song: A Guide (CH, Mar'09, 46-3584) has a similar
purpose (though far fewer songs are described, with more
commentary), Art Song in the United States remains the more
beneficial reference work for voice teachers, singers, and
accompanists. Summing Up: Highly recommended. Upper-division
undergraduates and above
*CHOICE*
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