Art Song Residency, Fall 2018

Sponsored by Yale College New Music:

Featuring Jennifer Beattie, mezzo-soprano, and Adam Marks, digital keyboard

Sept-Nov 2018 – Art Song Residency Schedule:

1. Thursday, 9/6, 2018: Rm. 106 @ 2:30 pm –  “Writing for Voice & Digital Keyboard” Workshop

2. Yamaha CP-300 Digital Keyboard Demonstration Workshops:
     a. Friday, 9/14, 2:30 pm – Rm. 403 w/ Konrad
     b. Tuesday, 9/18, 6:30 pm – Rm. 403 w/ Dr. A

3. Submission #1: Thursday, 9/28: Submit the first completed version of your entire art song as either a .sib or .xml file (no .pdf or handwritten submissions) on the designated Canvas Submission page. It should be between 2′ and 3 & 1/2′ in length. Once it is approved by Dr. A & Konrad, they will forward it to Jen and Adam.

4. Friday, 10/12, 2018: Rm. 106 @ 11:00 am – “Art Song Workshop Reading Critique” with Jen and Adam.

5. Submission #2: Thursday, 10/16: Incorporating the recent critique of your art song, submit the revised, final version of your art song as either a .sib or .xml file (no .pdf or handwritten submissions) on the designated Canvas Submission page. Once it is approved by Dr. A & Konrad, they will forward it to Jen and Adam.  You must also include a Word file with the following:

  • Your bio: 150-word count limit
  • Program notes: 150-word count limit
  • Title: the title of your song as you wish it to appear in the program
  • Lyrics: the lyrics as they are in your song.  This might be the same as the original text of the poem it you set it strictly “as is.”  However, if you’ve repeated text, added other words or syllables, or re-arranged the poem, then it would be that text you must submit.

6. Wednesday, 11/14: Dress rehearsal in Rm. 106, Stoeckel Hall. Time TBA.

7. Thursday, 11/15:  Art Song Concert @ Beinecke Library. Time 5:15 p.m.

Composing your Art Songs:

Consult Jen & Adam’s ArtSongResidency_Handout AND:

  • Review Jen’s info on her voice.
  • Pick a designated ‘U.S. Western’ text in the public domain as required.
  • Study the recommended Art Song repertoire.
  • Review Adam’s digital keyboard writing instructions.
  • Consult with Jen & Adam via e-mail: and

Here’s what’s required:

A.Text selection – you must select a text that is related at least tangentially to the Beinecke Exhibit: Eye On The West, which showcases photographs of the American West made since 1960 and encourages viewers in their understanding of the region, its people and its places. Choose a text that is connected to one of the Exhibit’s broad themes, or 2) choose a text that paints an interesting portrait of a person related to the American West (i.e. Georgia O’Keefe). Consider visiting the exhibit and seeing what inspires you!

  • 1. The Land
  • 2. Marks on the Land
  • 3. Working
  • 4. Ceremony
  • 5. Family
  • 6. Development
  • 7. Infrastructure
  • 8. Activism
  • 9. Conflict
  • 10. Recreation
  • 11. Destruction
  • 12. Remnants
  • 13. Regrowth
  • 14. Faces of the West
  • 15. Children of the West

B. Excellent scansion of your ENTIRE text. Create rhythmic motives with your scansion choices, with at least three rhythmic note values, though you may certainly use many more. Use these rhythmic motives and derivations of them throughout your art song.

  • 1. Use a moderate metronome marking of your choice – what’s best for your text?
  • 2. Use a mixed meter scheme of your own design – what’s best for your text?
  • 3. Lyrics should be notated below the singer’s notes, using the lyrics tool in your notation program.
  • 4. Vocal dynamics should be notated above the singer’s notes, NOT below.

C. Next, use a harmonic structure based on a minimum of two different third-related modes of your choice. This may conform to a verse/chorus setting, or, a variety of other phrase structures that you design. The text must strongly influence your harmonic phrase structures.

  • 1. Your art song MUST be either G or A pitch-centric so that it conforms to Jen’s voice range.
  • 2. Again, use a minimum of two different third-related modes in any pitch-centric syntax whether it’s the major or minor modes; other modes such as Phrygian, Dorian, Lydian, Mixolydian or those modes in combination; other synthetic scales that you design; but NOT atonal or serial pitch techniques.
  • 3. Modulate at least once to the third-related mode from your original G or A pitch center. Return to your original pitch-centric syntax, or modulate to an additional third-related mode.
  • 4. Optional: modal mixture; chromaticism; altered diminished or dominant harmonic treatments.


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