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Mahler's use of recurring thematic and motivic elements is the topic under consideration in this paper. The subject was decided upon after a preliminary investigation into possible instances of the use of leitmotiv in Mahler's Symphony JI led to the conclusion that occurrences of that device are, at best, only matters of supposition. The study did reveal, however, a considerable number of themes and motives in Symphony 1I that could be traced directly to Symphony I. A logical question followed: Were there similar recurrences in any of the other symphonies? Further research indicated that such instances of cyclicism (a more concise synonym for "recurring themes and motives") were not only common, but were an important element in Mahler's style.

The purpose of this study is to become acquainted with the first movement of Mahler’s Fifth Symphony in the same manner as a conductor would when preparing the work for performance. Dr. William Dehning stated in his doctoral thesis: “The correct execution of any music imposes a great responsibility on the conductor of that music to determine what the composer might have intended.” The areas of concern to be discussed in this thesis, then, include analysis, thoughts on aesthetic and stylistic qualities, and some historical accounts relating directly to the Fifth Symphony.

The expressive marking "schattenhaft" appears twice in Gustav Mahler's symphonies: at the beginning of the scherzo in the Seventh and within the first movement of the Ninth. Theodor Adorno's observations regarding Mahler's use of this marking, which connect it to Schopenhauer and Romantic aesthetics, provide the framework for an examination of possible meanings of these two passages in Mahler. Drawing also on references elsewhere in Adorno's book to stylistic and formal features peculiar to Mahler's music, and especially on the comparison he makes between the experiences of reading novels and listening to Mahler's symphonies, this thesis demonstrates that close analysis of the "schattenhaft" passages offers a valuable point of entry into the thinking of both Adorno and Mahler.

Gustav Mahler's Seventh Symphony seems to belie traditional notions of symphonic unity in that it progresses from E minor in the first movement to C major in the Finale. The repertoire of eighteenth and nineteenth century composers such as Haydn, Beethoven, and Brahms indicates that tonal holism is a significant factor for the symphonic genre. In order to reconcile Mahler's adventurous key scheme, this dissertation explores a multidimensional harmonic model that expands upon other concepts like Robert Bailey's double-tonic complex and transformation theory. A multidimensional musical object is a nexus of several interconnected chords that occupy the same functional space (tonic, dominant, or subdominant) and can be integrated into a Schenkerian reading. Mahler's Seventh is governed by a three-dimensional tonic object that encompasses the major and minor versions of C, E, and A-flat and the augmented triad that is formed between them. The nature of this multidimensional harmony allows unusual formal procedures to unfold, most notably in the first movement's sonata form. To navigate this particular sonata design, I have incorporated my own analytical terminology, the identity narrative, to track the background harmonic events. The location of these events (identity schism, identity crisis, and identity reclamation) is critical to the entire structure of the Seventh.