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Czech opera receives little attention in collegiate voice programs, whether it be the study of the repertoire, the language, or its historical context. Since emphasis is largely placed on English, French, German, and Italian opera, it is reasonable that many voice teachers and vocal coaches may not have expertise in either the repertoire or the language, and as a result, so few selections are performed by young singers, much to their detriment. Interview participants completed an initial interview based on a priori themes (four sources of self-efficacy), and a follow-up interview, which explored contextual factors (i.e., student/teacher relationship, environment, cognitive self-regulation, practice habits, and gender). Voice students in this study described how they progressed in self-belief by moving from a reliance on external assessments of ability to a reliance on selfappraisal as they (a) developed their technique through practice, studio learning, and performance (enactive mastery experience)1; (b) watched coping and master models (vicarious experience); (c) received feedback (verbal/social persuasion); (d) knew and felt physically when they were singing freely (physiological and affective states); and (e) learned to exercise agency (cognitive self-regulation).

[...]while Britten's list appears to be part of his preparation for his 'Hardy songs', he clearly was not just looking at the list but was also exploring other Hardy poetry during composition. [...]the volume of the Collected Poems that he was working from was not the full (1930) edition comprising all eight of Hardy's published volumes. [...]in making his list Britten was not actually selecting from the whole of Hardy's poetic output but was pragmatically using the volume he had to hand. [...]four of the eight poems include music in one way or another: 'The Little Old Table' is characterised by its creak, the whole subject of 'The Choirmaster's Burial' is whether the choirmaster should be accorded the traditional graveside psalmplaying (finally given in the dead of night by spirits), the birds in 'Proud Songsters' 'sing', 'whistle' and 'pipe', and finally the subject of 'At the Railway Station, Upway' is, as Britten says in his added sub- title 'The Convict and the Boy with the Violin'. There is no way of knowing whether these marks were made by Britten or Pears (either before or after the composition of Winter Words), by the original owner (Frank Hodson) or indeed by Isherwood. [...]regrettably nothing can be deduced from the markings. 28 I have not noted where Britten has simply omitted the definite article, e.g. 'Darkling Thrush' is titled by Hardy 'The Darkling Thrush'.

Over a career spanning seven decades, John Joubert (1927–2019) wrote operas, symphonies, concertos, oratorios, and other instrumental works for large forces, chamber ensembles, and soloists. Running as a thread through his output is an extensive body of work for chorus, which is at once varied—sacred and secular, sprightly and contemplative—and yet unified by the composer’s set of signature stylistic traits. This body of work draws upon influences and techniques used by composers in both traditional and avant garde camps (though these terms are laden with subtext and connotation, this study will use them because they were the most commonly used terms by Joubert). While the divide between these composers grew in the post-World War II era, and attention and funds increasingly flowed to composers firmly in one idiom or the other, Joubert followed Benjamin Britten (1913–1976) and other composers who did not embrace either extremity but sought a middle path. Later in Joubert’s career, changing taste in art music culture was met with a correlative increase in interest in and recordings of his work.This study explores Joubert’s works for chorus, puts them in context musically and historically, and provides a resource and guide for those who perform them. Given the depth and breadth of this body of work, it is necessary to narrow the scope to his choral works that are unaccompanied, or accompanied only by a keyboard instrument. This omits many longer works, including some like the English Requiem (2010) that are intriguing both for their musical content and their connections to tradition, but these compositions may serve as subjects of future study.

Thomas Hardy collaborated with the British composer Rutland Boughton to create the opera \"The Queen of Cornwall\" from Hardy's play. This article traces the creation, premiere, reception, and performance history of the opera.

Stephen Paulus is a prolific American composer of the twenty-first century. Together with his primary collaborator Michael Dennis Browne, an English born, American poet, he has produced numerous compositions ranging from choral works to operatic. This document introduces Paulus’ early song cycle for tenor \"Mad Book, Shadow Book: Songs of Michael Morley\" (“Michael Morley Creaked,” “Falling Asleep in the Afternoon,” “I Feel Good Running,” “Morley’s Root Song,” “Calm, Calm,” and “Et in Arcadia, Morley”). Included is biographical and stylistic information about the composer and the poet, general information about the song cycle, and a performer’s guide to the songs, followed by a conclusion. Appendices include the texts of the cycle, a catalogue of Paulus’ published songs, a list of Browne’s works, and transcriptions of interviews with the composer and the poet, as well as letters of permission.

In the 1970s and 80s the Scottish based composer Edward Harper wrote two chamber operas based on Under the Greenwood Tree but the work of Paul Carr with a libretto by Euan Tait is on an altogether grander scale. Perhaps necessarily the opera simplified Hardy's two-edged tale into a story, above all, of young love. The social changes occurring in the period evinced in the abolition of west gallery quires were featured in the opera but didn't really take centre stage.

Operatic versions of King Lear and Tolstoy's Anna Karenina were also considered, as was an opera based on a Thomas Hardy novel, but Britten's enormously busy schedule of concerts, recordings and other writing projects dictated that these works remained unrealised.