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.

Thesis (M.M.)--University of Florida, 2004. / Title from title page of source document. Document formatted into pages; contains 77 pages. Includes vita. Includes bibliographical references.

Thesis (doctoral)--Göteborgs universitet, 1996. / Abstract in English inserted. Includes bibliographical references (p. 582-596) and index.

Thesis (Ph. D.)--University of Michigan, 1968. / Vol. 1 contains text; v. 2, appendices; v. 3, an edition of Gossec's Symphony, op. 8, no. 2. Includes bibliographical references (v. 1, leaves 556-593).

Thesis--Northwestern University. / Photocopy (positive) of typescript, made by University Microfilms. Collation of the original: 340 L. Vita. Issued also in microfilm form. Includes bibliographical references.

The purpose of this study is to demonstrate that Symphony No. 1 in F major, Op. 17, by Zdeněk Fibich embodies musical style features associated with both Czech and German composers of the nineteenth century. The identification of these style features is accomplished by comparing and contrasting Fibich's Symphony No. 1 in F major with works by other prominent Czech and German composers whose music was performed and well-known at the time. Particular emphasis is placed on the aural similarities between Fibich's first symphony and that of other composers' works in an effort to show Fibich's unique hybrid compositional style. A second area of focus is the rise in European nationalism during the latter half of the nineteenth century. Due to Fibich's mixed Czech and German heritage, nationalism is explored in order to ascertain what effect, if any, nationalistic bias might have had on the overall reception of Fibich's music and the composer's ability to have his music performed during his lifetime.

George Frederick Bristow (1825-1898) was a prominent American instrumental performer, teacher, conductor, and composer working in New York City in the mid-nineteenth century. His compositions provide valuable insight into the musical life of New York at that time, and into the development of American music. Presently, the New York Public Library for the Performing Arts holds a wealth of manuscripts of his work, and very little of it has been published. Bristow's Niagara Symphony, Op. 62, was composed in 1893 and received its first performance under the baton of the composer shortly before his death in 1898, and represents the culmination of his compositional output. The symphony is divided by Bristow into two large parts of equal duration: the first part consists of three movements scored for orchestra only, and the second part is a multi-section cantata for vocal soloists, chorus, and orchestra. I have here created a critical edition of the fourth movement of George Frederick Bristow's Niagara Symphony that faithfully and accurately represents the composer's intentions. I also provide here a meticulous recounting and justification of my editorial decisions, a thorough analysis of the work including an examination of compositional influences, and a discussion of performance considerations. This completion of a modern performing edition of the fourth movement of the Niagara Symphony is intended to help make the work of George Frederick Bristow more widely known, and to help scholars, performers, and audiences grasp our own American musical heritage.

Don Gillis wrote Symphony No. 5½ (1947) in order to reconcile the American public with modern art music. By synthesizing jazz (as well as other American folk idioms), singable melodies, and humor, and then couching them into symphonic language, Gillis produced a work that lay listeners could process and enjoy. The piece was an immediate success and was played by orchestras across the globe, but it did not retain this popularity and it eventually faded from relevancy. This study focuses on elements that contributed to the initial efficacy and ultimate decline of the work. Due to its pervasive popular influences, Symphony No. 5½ is a crystallized representation of time in which it was written, and it soon became dated. Don Gillis did not harbor the idea that Symphony No. 5½ would grant him great wealth or musical immortality; he had a more pragmatic goal in mind. He used every musical element at his disposal to write a symphonic work that would communicate directly with the American people via a musical language they would understand. He was successful in this regard, but the dialogue ended soon after mid-century.

Breaking Through is a single-movement composition for symphony orchestra based on a fourteen-note melody. Every harmonic and melodic figure except the bass line is derived from this source melody. The structure of the work is based on a number of musical dichotomies that work on both local and large-scale levels. The local dichotomies contrast consonance with dissonance and ambiguity with clarity (in respect to texture and rhythm). The dichotomy of two-part form versus three-part form and the dichotomy of simplicity versus complexity operate on the large scale. The unity lended by the single source melody coupled with the contrasts furnished by the aforementioned dichotomies allow Breaking Through to be both coherent and interesting.

No description available.