The undertaking of research in conjunction with a compositional process proved an invaluable practice in unlocking the tools of emotional expression available in vocal music. Unsolicited feedback from my peers has confirmed that my own ability to express emotion and to affect others in performance has improved greatly since the start of this journey, both within the repertoire of 17th-century Laments and beyond. Approaching the Lament from the perspective of a composer not only compelled me to make choices regarding the presentation of the chosen affect, but also demonstrated the endless interpretive possibilities through the distribution and performance of the final compositions. Each person involved in the making of Laments for a Modern World brought their own artistry and lived experiences to the music, leading me to believe that the study of Laments and their pathetic capabilities will never truly come to an end.
Grief is an inherent part of the human experience, and thus the relevance of its representation in the arts lives on. The Lament was and is a musical vessel with which to explore the stirring of affections, and my Laments for a Modern World are intended to extend the possibilities of the Lament beyond the limits of the pre-existing canon. While the impact of these new compositions has yet to be seen, I can trust that the words of Eastland, Cheng, Clark, and Nuttall will be heard and reinterpreted by those who feel a connection to their stories, and that the pathetic power of the Lament will continue to evoke emotional responses for centuries to come.