Felix Mendelssohn's Symphony No. 1 in C Minor, Opus 11, is important primarily as a transitional work. It is the first work in which Mendelssohn deploys large orchestral forces in the traditional form of the symphony; thus, it provided Mendelssohn with the means of making the important transition from the relatively small, chamber-music ensemble in which he had previously worked (as represented by the "string symphonies") to large-scale symphonic works. Its historical or biographical importance definitely outweighs its importance as a musical work in its own right; this can be seen by the fact that it is much less performed today than other symphonies by Mendelssohn. In these later symphonies the composer displays his talents in a more fully developed form. Nonetheless, Symphony No. 1 has many excellent qualities. It has several memorable melodies and shows the working of a vigorous, youthful, though somewhat derivative musical intelligence. It has several brilliant and memorable moments, although considered as a whole it must still be regarded as a work that promises a greater talent than it displays.

Cindy McTee's Symphony No. 1: Ballet for Orchestra is composed primarily of pitch materials from the octatonic collections that contain both diatonic and non-diatonic relationships in the themes, harmonic content, and larger structure of the symphony. Because the octatonic collections contain the potential for both diatonic and non-diatonic relationships, the piece is argued to have octatonic structure, as the octatonic collection is capable of producing both relationships. The second chapter contains a review of the literature, focusing particularly on the work of Arthur Berger, Pieter C. van den Toorn, Richard Taruskin, and Allen Forte. Next, the octatonic structure of the symphony is shown in the thematic material. Finally, the harmonic support and large-scale structure of the piece are shown to contain octatonic relationships as well.

The initial composition of the Fifth Symphony in E-flat Major, Op. 82 was undertaken as a commission to celebrate the composer's fiftieth birthday. Unhappy with the initial efforts, two revisions were then performed; the first was in 1916 and the final revision in 1919. Despite the larger form of the work seeming to have been changed between the 1915 and 1919 versions, the smaller gestures of thematic expression in both versions remained similar. On the surface, it had appeared that the composer had eliminated a movement, changing the 1919 version into a three movement form. This view was not challenged by the composer at the time, and since the earlier versions had either been withdrawn or destroyed, there was no way to compare the original efforts to the final product until recently. In comparing the 1919 version to the original, a definite strong parallel can be seen between the two - despite the changes to form, rearrangement of melodic material, and the seemingly different number of movements. However, the parallel is enough that the 1915 version can be a guide to classifying the 1919 version, an act that has eluded many scholars since the 1920s. Most importantly, comparing the two versions shows that the 1919 version is not a three movement form at all; it is a four movement form that is obscured by the connection of the first and second movements by a thematic bridge that contains elements from both movements, but is not placed within either structure.

The purpose of this study is to become acquainted with the first movement of Mahler’s Fifth Symphony in the same manner as a conductor would when preparing the work for performance. Dr. William Dehning stated in his doctoral thesis: “The correct execution of any music imposes a great responsibility on the conductor of that music to determine what the composer might have intended.” The areas of concern to be discussed in this thesis, then, include analysis, thoughts on aesthetic and stylistic qualities, and some historical accounts relating directly to the Fifth Symphony.

For this study, the forms of the movements of forty-four symphonies of Mozart-those appearing in the Breitkopf and Hartel "complete" edition of his works- were analyzed. For convenience of reference, the symphonies are discussed in this thesis in their conventional numbering-that of the Breitkopf and Hartel edition- except for six symphonies that appeared in a supplementary volume and are inserted in this study into their approximately correct chronological positions.

Traditions in orchestration can be described by relating the practices of most of the important composers of a particular time. This was done with great success by two composers of the nineteenth century, Hector Berlioz and Nicolai Rimsky-Korsakov, in their books on orchestration. These texts are the basis for the traditional uses of brass instruments appearing in the chapter.

Symphony no. 2 : towards a harmonious world. I. Molto sostenuto. II. Con alcuna licenza. III. Con fuoco -- Sunrise : for orchestra -- Epilogue for a tragedy : for flute, violin, cello and piano. I. Molto mesto. II. Molto pesante : quasi tarantella : tranquillo -- Ally : for clarinet, violin and cello -- Cosmo palladium : for flute and Max/MSP. / Hung Ming-kin Christopher. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2006. / Abstracts in English and Chinese. / Symphony No.2 Towards a Harmonious World / Chapter I. --- Molto sostenuto --- p.5 / Chapter II. --- Con alcuna licenza --- p.36 / Chapter III. --- Con fuoco --- p.45 / Sunrise for orchestra --- p.84 / "Epilogue for a Tragedy for flute, violin, cello and piano" / Chapter I. --- Molto mesto --- p.101 / Chapter II. --- Molto pesante- quasi tarantella -tranquillo --- p.106 / "Ally for clarinet, violin and cello " --- p.115 / Cosmos Palladium for flute and Max/MSP --- p.125

The expressive marking "schattenhaft" appears twice in Gustav Mahler's symphonies: at the beginning of the scherzo in the Seventh and within the first movement of the Ninth. Theodor Adorno's observations regarding Mahler's use of this marking, which connect it to Schopenhauer and Romantic aesthetics, provide the framework for an examination of possible meanings of these two passages in Mahler. Drawing also on references elsewhere in Adorno's book to stylistic and formal features peculiar to Mahler's music, and especially on the comparison he makes between the experiences of reading novels and listening to Mahler's symphonies, this thesis demonstrates that close analysis of the "schattenhaft" passages offers a valuable point of entry into the thinking of both Adorno and Mahler.

Walt Whitman's poetry continues to inspire composers of choral music, and the growing collection of musical settings necessitates development of a standard evaluative tool. Critical evaluation of the musical settings of Whitman's work is difficult because the extensive body of verse is complex and of uneven quality, and lack of common text among compositions makes comparison problematical. The diversity of musical styles involved further complicates the issue. Previous studies have focused on either ideology or style, but none have united the two critical approaches, thus restricting potential for deeper understanding of the music. This study proposes an approach to critical evaluation of Whitman settings that applies hermeneutics, or a blend of analysis and criticism, to the process. The hermeneutic approach includes an examination of the interrelationship between musical form and style and the composer's ideology, which is revealed through his/her treatment of Whitman's poetry and analyzed in light of cultural influences. Lowell Liebermann (b. 1961) has composed a large scale choral/orchestral setting of Whitman texts in his Symphony No. 2, opus 67 (1999). The selection, placement, and treatment of poetry in Symphony No. 2 provide a window into the composer's mind and his place in the current musical climate. Liebermann's setting reveals his interest in Whitman's search for spirituality and the human spirit's transcendence over time and space. His understanding of Whitman is filtered through a postmodern cynicism, which he seeks to remedy with his nostalgic neo-Romantic style. Chapter One provides an introduction to Whitman's life and examination of his poetry's themes, style, and reception. Chapter Two outlines issues relevant to criticism of Whitman settings and proposes an approach to critical analysis. Chapter Three applies the critical method to Liebermann's Second Symphony, drawing conclusions about its place in contemporary culture.

This study is concerned with the examination of choral symphonies by major nineteenth-century composers. Its purpose is to delineate the common characteristics which these works have. Emphasis is given to the investigation of the choral elements in the symphonies. Detailed musicological studies of nineteenth-century music are minimal; there has. been a particular lack of interest in nineteenth-century works for chorus. Therefore, the principal sources of data for this study were the full scores of the following nine symphonies: Beethoven's Symphony No. 9, Berlioz' Romeo and Juliet and the Funeral and Triumphal Symphony, Mendelssohn's Lobgesang, Liszt's Faust Symphony and Dante Syrmphony, and Mahler's Symphonies Nos. 2., 3, and 8. Other important sources included major biographies of the composers of the symphonies listed. chapter is devoted to each of these composers, subdivided as follows: a general survey of the composer's other works for chorus and/or orchestra; the historical facts connected with the composition and first performance of the individual symphonies; analysis; and conclusions.