Through his exceptional creative and performing abilities, Franz Liszt was able to transform compositions of many kinds into unified, intelligible, and pleasing arrangements for piano. Nineteenth-century definitions of "arrangement" and "Klavierauszug," which focus on the process of reworking a composition for a different medium, do not adequately describe Liszt's work in this area. His piano transcriptions of Schubert's songs, Berlioz's Symphonie fantastique and the symphonies of Beethoven are not note-for-note transcriptions; rather, they reinterpret the originals in recasting them as compositions for solo piano. Writing about Liszt's versions of Schubert's songs, a Viennese critic identified as "Carlo" heralded Liszt as the creator of a new genre and declared him to have made Schubert's songs the property of cultured pianists. Moreover, Liszt himself designated his work with Berlioz's Symphonie fantastique and the symphonies of Beethoven "Partitions de piano": literally, piano scores. As is well known, concepts of genre in general create problems for musicologists; musical arrangements add a new dimension of difficulty to the problem. Whereas Carl Dahlhaus identifies genre as a tool for interpreting composers' responses to the social dimension of music in the fabric of individual compositions, Jeffrey Kallberg perceives it as a "social phenomenon shared by composers and listeners alike." The latter concept provides a more suitable framework for discussing the genre of transcriptions, for their importance derives in large part from relationships between the original and the derivative works, both as constructed by Liszt and perceived by critics and audiences. During the nineteenth and early twentieth century's, Liszt's transcriptions of songs and symphonies were construed as both compositions for pianists and subsets of the originals. Consequently, these compositions should be studied for their own musical value as well as for the light that they shed on the original works. Liszt's transcriptions are derivative and at the same time created distinct genres.

Em finais do século XVIII, o Estado português patrocinou a publicação de manuais agrícolas que atravessaram o Atlântico rumo ao Brasil. Com uma linguagem didática, esses livros deveriam promover a instrução dos agricultores da colônia a fim de que estes melhorassem seus métodos de produção com os aportes de uma agricultura concebida como mais científica, baseada em princípios da filosofia natural das Luzes. Publicados entre 1798 e 1806 sob a responsabilidade do frei José Mariano da Conceição Veloso (1742-1811), os onze volumes que integram a coleção intitulada O Fazendeiro do Brasil resultam, precisamente, de uma política colonial ilustrada que concebia a agricultura como um dos pilares de sustentação do império ultramarino português. Esperava-se que esses livros contribuíssem para dinamizar a economia colonial através da promoção do seu aperfeiçoamento técnico, bem como de sua diversificação. Neste sentido, para além da expressão de uma esfera cultural e científica agitada pela Ilustração, esses manuais consistiam em instrumentos de interferência do Estado na realidade econômica do Brasil. O presente trabalho debruça-se sobre a obra O Fazendeiro do Brasil com o objetivo de contextualizar e evidenciar em alguma medida o sentido que a mesma possuía para a sua época. / At the end of the XVIII century, the Portuguese state sponsored the publication of manuals of agriculture that crossed the Atlantic Ocean towards Brazil. With a didactic language, the books were aimed to promote the colony farmers instruction in order to improve their methods of production with the contributions of a more scientific agriculture, based on the natural philosophy of the Enlightment. Published between 1798 and 1806 under the responsibility of Friar José Mariano da Conceição Veloso (1742-1811), the eleven volumes form the collection entitled O Fazendeiro do Brasil (The Farmer of Brazil). The books are precisely the result of an illustrated colonial policy, which conceived agriculture as one of the pillars of the Portuguese overseas empire. It was hoped that such books would contribute to boosting the colonial economy by promoting its technical improvement, as well as diversification. In this sense, beyond of being the expression of a cultural and scientific sphere agitated by the Enlightment, these manuals consisted of States instruments for interference in the economic reality of Brazil. The present work treats of the collection O Fazendeiro do Brasil in order to contextualize and to evidence in some extent the sense that it possessed for its epoch.

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Em finais do século XVIII, o Estado português patrocinou a publicação de manuais agrícolas que atravessaram o Atlântico rumo ao Brasil. Com uma linguagem didática, esses livros deveriam promover a instrução dos agricultores da colônia a fim de que estes melhorassem seus métodos de produção com os aportes de uma agricultura concebida como mais científica, baseada em princípios da filosofia natural das Luzes. Publicados entre 1798 e 1806 sob a responsabilidade do frei José Mariano da Conceição Veloso (1742-1811), os onze volumes que integram a coleção intitulada O Fazendeiro do Brasil resultam, precisamente, de uma política colonial ilustrada que concebia a agricultura como um dos pilares de sustentação do império ultramarino português. Esperava-se que esses livros contribuíssem para dinamizar a economia colonial através da promoção do seu aperfeiçoamento técnico, bem como de sua diversificação. Neste sentido, para além da expressão de uma esfera cultural e científica agitada pela Ilustração, esses manuais consistiam em instrumentos de interferência do Estado na realidade econômica do Brasil. O presente trabalho debruça-se sobre a obra O Fazendeiro do Brasil com o objetivo de contextualizar e evidenciar em alguma medida o sentido que a mesma possuía para a sua época. / At the end of the XVIII century, the Portuguese state sponsored the publication of manuals of agriculture that crossed the Atlantic Ocean towards Brazil. With a didactic language, the books were aimed to promote the colony farmers instruction in order to improve their methods of production with the contributions of a more scientific agriculture, based on the natural philosophy of the Enlightment. Published between 1798 and 1806 under the responsibility of Friar José Mariano da Conceição Veloso (1742-1811), the eleven volumes form the collection entitled O Fazendeiro do Brasil (The Farmer of Brazil). The books are precisely the result of an illustrated colonial policy, which conceived agriculture as one of the pillars of the Portuguese overseas empire. It was hoped that such books would contribute to boosting the colonial economy by promoting its technical improvement, as well as diversification. In this sense, beyond of being the expression of a cultural and scientific sphere agitated by the Enlightment, these manuals consisted of States instruments for interference in the economic reality of Brazil. The present work treats of the collection O Fazendeiro do Brasil in order to contextualize and to evidence in some extent the sense that it possessed for its epoch.

Leaving aside the classical world, Dance as an art form (as distinct from folk-dance) emerges with the renaissance. Combinations of dance and drama are seen in the court entertainments sponsored by Catherine de Medici in France and in the masques of Ben Jon-son, John Milton and Henry Lawes , the composer, in England. These dance-dramas shared the contemporary fondness for lavish sensuous spectacle, with mythological and allegorical subjects full of youth and beauty. The seventeenth century saw, in this new form of art, the development of stage and set-design as well as the emerging importance of the individual performer. The foundation of Richelieu's L 'Academie Française (1635) which concerned itself with language and literature was paralleled by Louis XIV's L'Academie Nationale de Musique et de la Danse (1661). The baroque and rococo characteristics of other arts are reflected in the ballets of Lully and Rameau. In the eighteenth century, theoretical works appear in which the dance is treated as parallel to the other arts. The Lettres sur la Danse (1760) of Jean-Georges Noverre (a friend of Garrick) stresses "nature" and design as do the literary treatises from Dryden to Samuel Johnson, (e.g. Dryden's An Essay of Dramatic Poesy (1668), Johnson's Preface to Shakespeare (1765), and Lives of the Poets (1779-81). Carlo Blasis' Treatise on the Art of Dancing (1803) is as much concerned with perfection of technique as the most ardent proso-dists of the period. The so-called "Classical Ballet", however, was the expression of romanticism at the beginning of the nineteenth century as much as in literature and the other arts. It sought to add strangeness and wonder to beauty and to escape from reality into fairyland or dreamland. It dominated ballet throughout most of the century and is seen in well-known works like Giselle, Swan Lake, and The Sleeping Beauty. Literary and artistic parallels abound, of course. However, the Dance is the last of the arts to develop a critical theory as it is the last of the arts to emerge as an aesthetically self-conscious, serious and professional form of expression from what had been vestigial and fragmentary. Even musical and dramatic renditions have left at least the score and the script. But the Dance, after its last performance, was largely a matter of fast-fading memory and variable hearsay. This thesis will endeavour to trace the development and changes in aesthetic outlook of the latter eighteenth and early nineteenth centuries through a comparative study of the writings of Jean-Georges Noverre, Heinrich von Kleist and Théophile Gautier. As far as one can judge from any available materials and sources of reference, bringing together these three writers whose work contains both literature and dance criticism, poetics and what might be called "balletics", has not been undertaken before; this is also the first time that Kleist has been given a significant place in a discussion of dance theory. It is the chief aim of this study to point out and elucidate the pattern of relationships between dance as an art form and literature. The relationships of theory and practice in the arts are no less complex here than in any other periods. Noverre, for example, as a theorist, was a consistent and articulate late eighteenth century classicist (looking forward to romanticism); but as a professional man of the theatre, he had a keen eye for popular taste, even if it catered to fashions he must have considered antiquated or cheap. Gautier, on the other hand, though he possessed no practical knowledge of the dance, he analyzed it so persuasively, so variously, and had such a wide audience that he strongly influenced the public taste for these aspects of romantic dance. It is doubtful whether Kleist was known to the world of dance, whether he was really influenced by it, or had any direct influence on it in any way. Yet, his essay Ueber das Marionettentheater (1801) might well serve as a manifesto for the new romantic form of dance when it was just being born. As a result of the analysis of these writers, it becomes apparent that all three, Noverre, Gautier, and Kleist, represent stepping-stones in the development of dance from the early stages of superficial extravaganzas, through the clearly defined measures of eighteenth century dance, to the natural expression of spontaneous movement in the next century. Hence, they can be said to define the basic progression from classicism to romanticism in the art of dance. / Arts, Faculty of / English, Department of / Graduate

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The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The chamber music program included a trio with the violin and cello performing with the piano. The repertoire of all of the programs was intended to demonstrate a variety of types and styles of piano music from several different historical periods. The lecture recital, "The Poetic Ideal in the Piano Music of Franz Liszt," was an attempt to enter a seldomexplored area of Liszt's musical inspiration. So much has been written about the brilliant and virtuosic compositions which Liszt created to demonstrate his own technical prowess that it is easy to lose sight of the other side of his creative genius. Both as a composer and as an author, Liszt reiterated his belief in the fundamental kinship of music and the other arts. The visual arts of painting and sculpture were included, but he considered the closest relationship to be with literature, and especially with poetry.

Volumes one and two of Annees de Pelerinage contain travel impressions. The pieces in volume three serve as a means of expressing a religious pilgrimage. The religiousmeaning is implied by the titles and by letters Liszt wrote concerning specific pieces. For the pieces to have programmatic significance, the music must support the verbal clues. This dissertation maintains that selected pieces in Annees de Pelerinage III are programmatic and that Liszt provided musical clues that have not been discovered or, if noticed, have not been analyzed in detail. Also, the dissertation explores similarities between selected pieces of Annees de Pelerinage III and other programmatic or texted works by Liszt sharing the same subject. The findings reinforce the premise that Liszt deliberately intended to express certain extra-musical ideas within the music itself. The paper briefly analyzes the musical reasons for labeling Annees de Pelerinaae III a cycle. Different sources call these pieces cyclic, citing the shared common religious theme as the reason. This dissertation discusses musical reasons that reinforce the idea of a cycle. Chapter II discusses Liszt's views on program music. Chapter III identifies common themes in Liszt's programmatic works and discusses the symbolic significance of thematic transformation. Chapter IV suggests an approach to analyzing program music. Chapter V discusses Liszt's musical narrative and his use of common rhetorical devices. Chapter VI analyzes extra-musical associations in selected pieces from the Annees de Pelerinaae—Troisieme Annee. Five pieces have been selected for analysis—Anaelus1. Aux Cypres de la Villa d'Este I and II, Marche funebre. and Sursum corda.

This is a stylistic study of the four versions of Liszt's Three Petrarchan Sonnets with special emphasis on the revision of poetic settings to the music. The various revisions over four versions from 1838 to 1861 reflect Liszt's artistic development as seen especially in his use of melody, harmony, tonality, color, tone painting, atmosphere, and form. His use of the voice and development of piano technique also play an important part in these sonnets. The sonnets were inexplicably linked with the fateful events in his life and were in a way an image of this most flamboyant and controversial personality. This study suggests Liszt's importance as an innovator, and his influence on later trends should not be underestimated.