Thesis advisor: Jeremiah McGrann / My thesis explores the various religious and philosophical influences behind Gustav Mahler's Second Symphony, "Resurrection." / Thesis (BA) — Boston College, 2004. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program.

Thesis (M.S.)--Boston University / From a modest beginning and with limited program Boston Symphony Orohestra has grown to have surprising impact and demand not only in metropolitan Boston but over the nation and In Europe. The orchestra was established in 1882 through the inspiration of one man. Henry L. Higginson gave his money, time and business ability for its creation. Only four of the world's great orchestras etill in existence have seniority to the Boston Symphony Orchestra: London, Leipzig, Vienna and Paris. The main portion of this thesis will examine the various media of communication that have been and are now being used to bring the Boston Symphony Orchestra to public recognition and to analyse the part played by each in maintaining interest and support for the orchestra, with the degree of success maintained through the years, it is felt that a case study can be of value in the future to anyone who would have need of information ooncerning the forming or operation of an organisation of this type.

The following piece is a three movement, twenty minute orchestral work in a Romantic style whose primary goals are accessibility and beauty. In the process of writing this piece, I learned that strong and memorable melodies are the key to a successful composition - taking influence from Henry Mancini and early Japanese video game composers, this work takes a central melodic theme through a series of variations to demonstrate the power of harmonic and orchestrational recontextualization. Rhythmically, the work utilizes techniques from the Minimalist and Progressive Rock traditions to strike a balance between rhythmic complexity and melodic focus. The three movements are meant to represent three steps towards self-actualization - Explore depicts curiosity and open-mindedness, Engage demonstrates the merits of focusing on one's craft, and Wonder represents the value of feeling awe towards the world even if it is not easy or simple. Ultimately, the work moves through a wide variety of moods and textures throughout its duration while staying focused on the central theme until the end, with the goal of creating a listening experience that is both rich and memorable.

<italic>Black Aggie: A Tale of American Folklore<italic> is a musical work written for wind symphony and synthesizer. The piece has the possibility to be performed in two different ways. It can either be performed by a live wind symphony or can be played as an electronic realization with media. The piece was inspired by the legend of Black Aggie - a peculiar grave statue with a series of fantastical stories surrounding her existence. The media presentation is to be played along with the live or synthesized performance. The media consists of photographs and footage of key elements in Black Aggie's legend. All of the media was manipulated with <italic>Photoshop<italic> and transferred to the video editing software <italic>iMovie<italic>. The realization of the music was created using <italic>Finale, Logic Pro,<italic> and <italic>East West Symphonic Gold<italic>. The music and the media together create a vivid depiction of Black Aggie's legend. / Mary Pappert School of Music; / Music Theory / MM; / Thesis;

Thesis (D.M.A.)--University of Oklahoma, 1993. / Includes bibliographical references (leaves 296-306).

Wondrous Love (public domain) is an old American hymn tune that I have known for a long time, and I have used it as the primary source material for my Chamber Symphony, trying throughout the piece to vary the texture and mood of the music. The piece opens with a sort of static texture, which gives way to a section where veiled references to the hymn tune become gradually more apparent. This veiled section almost dies away when the next section begins with a clear woodwind choir announcement of the first part of Wondrous Love. This short section, which is primarily transitional in nature, then moves through the strings, brass, and other instruments to effect a modulation into the next section. The next section is the first full announcement of the Wondrous Love hymn tune. While the music itself does not really change for the next two iterations of the tune in the section, the instrumentation is varied, and there is a modulation. This rather transparent music then dies away to a single note in the violins; this serves as a transition into a dreamlike section. This dreamlike music ends rather suddenly with an explosive tutti moment of which augmentation and open sonorities are the most salient features. The piece then comes to a close shortly thereafter with music that gradually dies away. / text

This dissertation examines the symphony in late nineteenth- and early twentieth-century France by way of individual chapters on the period's seven most influential and frequently performed works: Camille Saint-Saens's Third Symphony (1885-86), Cesar Franck's Symphony in D minor (1887-88), Edouard Lalo's Symphony in G minor (1886), Vincent d'Indy's Symphonie sur un chant montagnard franrcais (1886) and Second Symphony (1902-03), Ernest Chausson's Symphony in B-flat (1890), and Paul Dukas's Symphony in C (1896). Beethoven established the primary paradigm for these works in his Third, Fifth; and Ninth Symphonies, and the principal historical issue I address is how French composers reconciled this paradigm with their own aesthetic priorities within the musical and cultural climate of fin-de-siecle France. / Previous critics have viewed this repertoire primarily with limited structuralist methodologies. The results have often been unhappy: all of these symphonies are in some ways formally idiosyncratic and individual, and their non-conforming aspects have tended to puzzle or disappoint. My study draws on recent methods developed by Warren Darcy, Scott Burnham, and others that emphasize the dynamic and teleological qualities of musical form. This more supple approach allows a fuller appreciation of the subtle and sophisticated ways in which individual works unfold formally, and the spectrum of procedures French composers employed. / My study demonstrates that the factors shaping the French symphony in this period included imperatives of progress as well as the popularity of the symphonic poem. Some of the earlier symphonists covered in this study also felt the need to confront Wagner's influential theoretical writings: mid -century he had famously proclaimed the death of the symphony. As many writers have argued, the archetypal heroic "plot" that Beethoven's symphonies express embodies the subject-laden values---notions of individual freedom and faith in the self---that prevailed in his time. Different inflections of this plot by French symphonists, I argue, reflect the variegated ways fin-de-siec1e French culture had received these values.

Symphony for Wind Ensemble is written for piccolo, 2 flutes, 2 oboes, English horn, E-flat clarinet, 3 B-flat clarinets, bass clarinet, contrabass clarinet, 2 bassoons, 2 E-flat alto saxophones, B-flat tenor saxophone, E-flat baritone saxophone, 4 horns in F, 2 comets, 4 B-flat trumpets, 3 trombones, tuba, string bass, and 6 percussion lines that include: timpani, xylophone, castanets, vibraphone, chimes, 2 suspended cymbals, crash cymbals, triangle, snare drum, tambourine, tenor drum, crotales, bass drum, guiro, and tom toms (high, medium high, medium low, and low). The piece is comprised of three main themes: a rhythmic, harmonic, and a melodic theme. Formally, the symphony is in a complex ternary form with an introduction, transitions, and coda. While the symphony is not tonal, particular attention is given to open fifths, and scales that do not have an open fifth above the tonic, such as the Locrian, or the whole-tone scales. / School of Music

Dissertation--Philosophische Fakultät, Universität zu Koln, 2006. / Includes bibliographical references and index.

Thesis (Ph. D.)--Columbia University, 1931. / Vita. Published also without thesis note. "The orchestral score of Lincoln school symphony no. 3": p. 125-210. Bibliography: p. 218.