Wrazen, Louise J.2019-03-052019-03-052018-10-292019-03-05http://hdl.handle.net/10315/35858This thesis presents two different analyses of John Weinzweigs Private Collection, a group of nine songs for soprano and piano that was completed in 1975. The first analysis is text-based and draws on the existing literature, my own reading of the score, and archival research. The second is a performance-based analysis focused on a lip-synced performance of Mary Lou Fallis and Monica Gaylords recording of the composition, which I personally directed. I also draw upon data collected from audience surveys and performer interviews in this analysis. Here I consider various layers of performativity in Private Collection and ground my work in performance studies and queer scholarship. I argue that lip-syncing is a queer methodology that can illuminate the fragmented and multiple meanings that emerge from recorded music.enAuthor owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.Performing artsElectronic Thesis or Dissertation2019-03-05John WeinzweigMary Lou FallisMonica Gaylordlip-syncSong cyclePerformativityMusic analysisGertrude SteinDadaE. E. CummingsPrivate CollectionCanadian musicArt music