Stravinsky seldom explained the intended theme of his works; however, he chose to do so with his Symphony in Three Movements. Stravinsky describes the first movement as a reflection on war films documenting scorched-earth tactics in China. He also states that the third movement is a reflection on the newsreels of goose-stepping soldiers, depicting the plot of the war in its entirety. In his descriptions, Stravinsky left out the second movement of the work. However, the movement already had a life of its own. The second movement expands a theme Stravinsky originally wrote for the movie The Song of Bernadette. The author, Franz Werfel, asked Stravinsky to compose music for the film when the two discussed the work and its central ideas. Although it did not appear in the film, Stravinsky recycled the music for the Symphony in Three Movements. In my opinion, the ideas of hope depicted in Werfel's novel are used by Stravinsky to evoke ideas of the importance of faith in the fallen world. My analysis aims to show the musical means used by Stravinsky to allow the central ideas from The Song of Bernadette to pervade the entirety of the Symphony in Three Movements.

American composer Roy Harris began writing a symphony for the Tommy Dorsey band in 1938, but the piece was never completed. This dissertation project chronicles the events surrounding the interesting collaboration between the composer and the bandleader, including problems incurred during the rehearsal process, the eventual abandonment of the project, and the discovery of the little-known band work. The paper includes information on the composer's life and works, an in-depth discussion of the compositional technique that Harris called “autogenesis,” and a detailed analysis of the two surviving movements of the band piece. The piece is also discussed comparatively with other significant works in Harris' symphonic genre, most notably his Folksong Symphony, also known as his Fourth Symphony. A significant portion of the research and preparation for the project was spent reconstructing a modern wind ensemble edition of the two surviving movements. A complete score of the reconstructed edition is included as part of this project.

Masters in Public Administration - MPA / There is a major urban housing crisis in South Africa expressing itself in the failure of the government to provide low-income housing to urban residents. Considering this crisis, the specific purpose of this study was to examine the challenges to effective distribution of low-income housing with specific reference to the Delft Symphony community, focussing on the epoch from the years 2000-2015. The study was motivated by the fact that while there is an abundance of research conducted in the Cape flats, research focusing on the Delft Symphony community (DS community) is scanty especially on low-income housing distribution. This research gap became the focus of this thesis. To understand the challenges to effective distribution of low-income housing, this study was grounded in two theories namely the theory of justice and the self-help housing theory. The study employed qualitative methods in which semi-structured and in-depth interviews were conducted to collect the necessary data. This research used twenty-eight (28) key informants, and these were selected through snowball and stratified samplings. Qualitative data were analysed using content and thematic analysis. The findings revealed that government internal bureaucratic procedures and due processes such as the land approval process seem to contribute to the sluggish distribution of low-income housing in the DS community. The study also found that the low-income housing processes in the DS community are seemingly driven by politics manifesting in the allocation of houses based on political affiliations. The main recommendation from this study is that to improve the distribution of low-income housing, there is a need for the government to revitalise transparency and reduce bureaucratic delays in the processes of low-income housing.

The presented work deals with the topic of the relationship between the Serbian Orthodox Church (SOC) and the regime of Slobodan Milosevic in the years 1987 - 2000, which is a topic that has scarcely been elaborated upon in academic circles. It specifically deals with the concept of symphony as an Orthodox ideal of the arrangement of relationship between the Church and the state in the SOC policy towards the Serbian political leadership of that time. The thesis illuminates the origins and the essence of this concept and defines the adjustments which it went through in the Serbian milieu. In comparison to the original concept of symphonic interaction between the Church and the power of the state, the author establishes the core alteration as the addition of a national aspect and the creation of an organizational triad of nation, Church and state, which became a characteristic feature of the Serbian Orthodox theology. Based upon the analysis of SOC discourse, the treatise then refreshes the proposition that the symphony of Church and state, taking into account specific attributes, forms a key framework that has influenced and to this day to a certain extent still influences the SOC policy and its approach to a particular political power and regime.

No description available.

The Brno Philharmonic is renowned all over the world from London to Tokyo, but in its home town only has a small hall with poor acoustics not suitable for symphony concerts. The efforts to construct a worthy cultural venue to meet the needs of Brno go back to the interwar period and their implementation is still not in sight.The core of the project is a concert hall with capacity of 1,812. Its layout combines the advantages of standard shoebox-shaped halls and surround halls, because the best music experience gets the viewer who is quite close to the orchestra. The disadvantages of the former include poor contact with the orchestra in the rear seating, the latter sacrifice acoustical excellence mainly in the side and rear seating areas for audience proximity and visual stimulation. The building is composed of three functionally distinct parts: the audience’s part, musicians‘ background and technical equipment. The operation of each is placed in a horizontal part of a L-shaped solid. The vertical parts face each other creating a raised central cube containing the concert hall.

Sibelius’ Rezeption im deutschsprachigen Raum wurde lange Zeit von Theodor W. Adornos Glosse über Sibelius geprägt – so wurde Sibelius, ohne eine gründliche Auseinandersetzung mit seinem Werk, oft als zweitrangiger, konservativer Komponist betrachtet. Die analytische Untersuchung seiner Symphonien zeigt uns aber, dass sein Umgang mit Form besonders innovativ ist: Anstatt mehr oder weniger abgegrenzten ›Themen‹, die durch Ein- und Überleitungen miteinander verbunden werden, treten vor allem die ›leitenden‹ Teile in den Vordergrund. Diese Überwindung der traditionellen Formteile durch eine dynamische, ständig fließende Form, gipfelt in seiner siebten Symphonie, in der die einzelnen Sätze der symphonischen Form zu einem großen, einzigen Satz verschmelzen. Eine zentrale Rolle spielen dabei die Überleitungen, die quantitativ und qualitativ den Großteil der Symphonie ausmachen. / Jean Sibelius’s reception in German-speaking lands was for a long time influenced by Theodor W. Adorno’s commentary, such that, without a thorough examination of his work, Sibelius was often viewed as a second-tier, conservative composer. The analysis of his symphonies reveals, however, that his approach to form was especially innovative: instead of more or less clear-cut “themes” connected by introductions and transitions, it is especially the “connective” parts that come to the fore. This surmounting of traditional formal sections through a dynamic, constantly changing form reaches its peak in his Seventh Symphony, in which the individual movements of the symphonic form coalesce into a single, gigantic movement. Here the transitions play a central role, which make up the majority of the symphony, both quantitatively and qualitatively.

Vermittelnd zwischen Konvention und dem im Notentext kaum dokumentierbaren Klang sind spätestens seit dem Ende des 18. Jahrhunderts Wendungen zu finden, die eine Vertiefung von satztechnischem Regelwerk im Orchesterklang annehmen lassen. Greifbar wird dies an zwar in der historischen Kompositionslehre, aber kaum in der Instrumentationslehre erfassten Topoi. Sei es, dass Trugschlüsse durch instrumentale Oberton-Effekte dissonanter, dass Dissonanzen in der klanglichen Entwicklung weicher, dass konsonante Klänge durch die Instrumentation dissonant klingen oder dass Dissonanzen eher ausgeblendet als konturiert aufgelöst werden, in all diesen Fällen erfahren musiktheoretische Problemstellungen erst jenseits des Notentextes ihre eigentliche Prägung. Solche ›Phantom-Kontrapunkte‹ sind in tonaler Musik selten Gegenstand wissenschaftlicher Betrachtung. An Beispielen von Beethoven, Mendelssohn und Haydn wird versucht, die Spannung zwischen satztechnischen und instrumentalen Konventionen und der klanglichen Gestaltung höranalytisch als musiktheoretisches Problem und künstlerische Intention zu rekonstruieren und der Lehre zugänglich zu machen. / Since the late 1790s, some features of orchestral music may have been understood as intensifying links between the conventions of musical composition and the rather fluid elements of the sound itself. In the history of music theory, those links can be found in literature about composition rather than in schools or textbooks for instrumentation. When a false cadence is made more dissonant by the effects of harmonics, when dissonant sounds seem to become softer during their development in the orchestral sound, when consonant sounds are made dissonant by means of the instrumentation, or finally, when dissonances are not properly resolved but rather faded out, we are confronted with problems of music theory that go beyond the score. Such a ›phantom counterpoint‹ as an issue of tonal music has not yet been examined in musicology. This article will approach the tension between conventions of composition, voiceleading, style, and instrumentation in order to reconstruct the musical ideas as theoretical background and creative intention and to develop a new tool for music analysis.

No description available.

The lecture recital was given on November 20, 1979. The final movement of Widor's Symphonie Gothique, opus 70, the first movement of Widor's Symphonie Romane, opus 73, and the first movement of Dupré's Symphonie-Passion, opus 23 were performed following a lecture on Gregorian Chant in the organ symphonies of Widor and Dupré. The lecture included a brief historical discussion of the decline of organ literature following the French Classical School, the development of the Modern French Organ School beginning with the establishment of the organ department at the Paris Conservatory, the revival of plainsong and the establishment of the School of Solesmes, and the influence of César Franck and the organ symphony. The main body of the lecture included biographical sketches of Widor and Dupré, a discussion of the general characteristics of their organ symphonies, with the emphasis upon those movements specifically employing the use of Gregorian chant.