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Abstract
Recent developments in text-music relationships may be studied in three new compositions commissioned by Dartmouth College. These works, by Christian Wolff, Susan Blaustein, and the author, present themselves as self-conscious critiques of traditional song. Dealing with overtly political and historical material, they redefine the song cycle as a public genre in dialogue with the private genre that evolved in the great 19th (and 20th) century Lied cycles. The Dartmouth works also emphasize the compositional process as an interpretation rather than a re-enactment of the poetic text.