<p>Inspelning av examenskonserten saknas</p>

Inaug.-diss.--Berlin. / Lebenslauf. Includes bibliographical references.

Thesis (doctoral)--Friedrich-Alexander-Universität Erlangen-Nürnberg, 1984. / "W.A. Mozart, der Weg in die Individualisierung": p. 105-161. Vita. Bibliography: p. 165-170.

Thesis (D.M.A.)--Boston University

abstract: Preservation Symphony is a short, multi-movement, orchestral composition that explores the versatility of the [016] pitch class set as the dominant unifying force of this cyclical work. The composition is scored for Piccolo, two Flutes, two Oboes, English Horn, two Clarinets, Bass Clarinet, full complement of Brass, Timpani, two Percussionists, and Strings. Movement one is in sonata form; the [016] set is used in structuring its overall formal scheme. The primary focus of the movement is on the tritone [0 6] as a replacement for the traditional tonic and dominant polarity. The movement features a driving force that alternates between pulse subdivisions of even sixteenth notes and sixteenth-note triplets. Movement two is in simple binary form with a central tonality of A. An English Horn solo functions as both the opening of the movement and a transition from the tonality of movement one (F) into the new tonal center of A. The unifying pitch class set [016] is used in this movement in a Phrygian context. Movement two has a contemplative and dark tone, which is in stark contrast to the outer movements. Movement three has a lighter, upbeat nature. The movement is in rondo form with its main theme written in a folk-like character. This movement returns to F as the central tonality, completing the overall tonal plan of the work. As in movement one, it explores the tritone polarity of F and B. The movement also revisits the chromatic mediant relationship found in the middle of movement two in the oboes. The pitch class set is now used in the context of a Lydian-Mixolydian (or acoustic) scale, from which both the central and secondary themes of the rondo are derived. / Dissertation/Thesis / M.M. Composition 2014

The work was begun in September of 1951, and was completed in April of 1962. It is cast in three movements: fust, fugal style; slow, a variation-rondo; fast, sonatu form. A closely knit structure is achieved through melodie and rhythmic relationships throughout. Thus, the second theme of the last movement is derived from the opening theme of the first movement; subsidiary material from movement one appears again as developmental material in movement two; the first phrase of the opening these in movement one is em, loyed developmentally in the third movement.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1967. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

This document presents a music analysis tool which illuminates structural elements of Paul Hindemith's Symphony in B-flat for Concert Band. Designed by the author, this type of visual tool is called a Music Analysis Profile and will henceforth be referred to as a MAP.This study offers a historical perspective of visual music analysis models, examines the development of the author's model, and explores an analysis of the Hindemith Symphony through MAP examples. This project is designed to enhance understanding and appreciation of this composition in the following contexts: music rehearsals, classrooms, pre/post concert discussions, and performances. In such contexts, the purpose and usefulness of a MAP as a useful tool is exemplified.

This thesis takes as its starting-point the theoretical and critical writings on music from the second half of the 18th century - mostly by German authors such as H.C. Koch and J.F. Daube. The intention is to illustrate the preoccupations and concepts of these authors in the period associated with the development of Classical symphonic style. I have noted the emphasis on textures and on certain aesthetic criteria, such as "Feuerigkeit" and "das Unerwartete", and I have attempted to trace the growth of meanings given to these terms over a period of about 50 years. To illustrate the formal implications of the "symphonic allegro" described in these writings, I have discussed specific examples in the second chapter from the symphonies of J.C. Bach, F.X. Richter, G. Pugnani, P. Beck, etc. (These are given in score in the Appendix of Musical Examples) Emphasis is placed on the contrasting roles of tutti and lightly-scored texture in articulating the internal structure of the first section of the allegro movement; and on the types of formal expansion (such as prolonged dominant preparation) and harmonic surprise already used by symphonic composers in the 1750s-60s. The third chapter is concerned exclusively with the symphonies of Haydn, illustrating his capacity to devise new relationships and roles for the traditional contrasts of texture and dynamic level in the symphonic allegro. The important sketch for the finale of Symphony No.99 is discussed, as a case in which the relationship between tutti transition and second subject is only gradually decided in the composer's plans. The harmonic aspects raised in connection with Haydn's symphonies are considered in more detail in the 4th chapter, which moves from the element of cadential expansion - in the form of interrupted cadences and interrupted or prolonged cadential progressions - to that of tonal contrasts at the level of independent and clearly defined periods which play a part in the thematic growth of the movement. The importance of flattened submediant and flattened mediant relationships are underlined in this context. Haydn's quartets have been largely used as the basis for this discussion. In the 5th chapter, the subject is the growing complexity and variety of tonal treatment in Haydn's development sections, from his observance of traditional key-schemes, through his experimentation with fausse reprise effects, to the enlargement of his procedures to include both flat and sharp key relationships. The chapter concludes with a discussion of the "enharmonic" modulatory schemes characteristic of Haydn's late style. In the final chapter, the intention has been to illustrate some of the different functions of tonal contrast that grew up alongside and after those described in terms of Haydn's music. A contrast is drawn between Haydn's use of flattened submediant areas within a single key area, and the use by Mozart and Beethoven of similar effects for the purposes of modulating from first to second group key. Finally, some of the great first movements of Schubert are discussed to illustrate the growth of the principle of harmonic and expressive contrasts to encompass very large areas of tonal stability.

This thesis approaches Haydn’s sonata-form procedures from the perspective of the eighteenth-century listener, asking, if a moment is allegedly “witty” according to modern analysts, would Haydn's contemporary audience have heard it as such? Eighteenth-century wit has two sides: wit involves an aspect of surprise or deception, a breaking of understood norms; however, wit must also involve an unsuspected congruity, a broader connection created only by breaking the aforementioned norm. Taking this as my starting point, I explore false recapitulations in the Haydn’s music, concluding that this device cannot be considered witty because it did not break an understood convention. I then provide detailed analyses of the first movements of Haydn’s “Military” Symphony no. 100 and String Quartet in D major, op. 33 no. 6, arguing that they are witty not solely because they are disruptive, but because this disruption binds the sonata together in an unexpected way.