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This thesis examines the life and work of Russian composer, Sofia Gubaidulina (b. 1931) during the period up to 1986, after which, she was allowed to travel beyond the Soviet Union. The context of the environment in which she lived, the repressive secular state of the U.S.S.R., has been considered. The sources of inspiration in her music have been explored, in particular her religious belief and its expression in music. Throughout the project, numerous isolated and disparate writings about Gubaidulina have been brought together. The collection, presentation and summary of this data, and the evaluation and critical interpretation of the data, has resulted in a valuable collection of thoughts and observations concerning this renowned composer, including her own explanations. This body of work examines areas of the composer's life and work, the influences and principal musical interests which have shaped her compositional identity, and the importance of extra-musical interests and compositional processes. This work provides the background context for the detailed analytical study. The most substantial part of the research project is an in-depth analysis of Seven Words (1982), for cello, bayan and string ensemble, a piece of particular importance. Multifarious analytical methods have been used to illuminate the work. The evolution of the score, in its various forms, has been examined. Key observations include the identification of the characteristics of Gubaidulina's musical style within this work, an interpretation of the symbolic significance of the musical materials, and an investigation of Gubaidulina's use of Fibonacci numbers in the macro and micro levels of the work. A further important innovation is the use of original graphic representational techniques to display complex contrapuntal textures. This comprehensive analysis illustrates Gubaidulina's musical personality, and elucidates the technical craft of composition. From these observations, Gubaidulina's compositional aesthetics and procedures are revealed.

'Culture' and 'cultural policy' are both very dynamic and complex terms. As far as cultural policy and cultural governance are concerned, this study has provided us with an insight both at theoretical and at empirical level. The thesis adopts a structured and systematic approach to cultural policy research to produce meaningful results for the case of Cyprus. Therefore the main scope of this study centres on formulating a policy framework for a new model of music policy for Cyprus on the basis of reforms in the cultural governance system. This study is based on an in-depth qualitative research. The specific methods of bibliographical research, comparative study of selected models of music policy in other European countries and semi-structured interviews have been employed. Furthermore, due to the dynamic and evolving area of the investigated topic, this study incorporates some elements of action research and is also based on a grounded theory approach. On the basis of the results derived from this study, a new model of cultural governance for the case of Cyprus has been formulated in a systematic way, through the proposal of: (i) a structured context for strategic cultural planning; (ii) modernisation of cultural governance structures; (iii) modernisation and improvement of the funding system. The thesis shows that the co-ordinating role of the State in mobilising all the key partners involved, especially in the case of Cyprus, is important for the successful implementation of the proposed reforms in the cultural governance structures. In this respect, the political aspiration and the rhetoric for the creation of a Unified Authority for Culture are taken into account and concrete proposals are provided by this research. On the basis of the results of this study, a Unified Authority for Culture is proposed to be a governmental body dealing mostly with strategic cultural planning, as well as monitoring and evaluation as far as the implementation of cultural policies is concerned. Due to the small size of Cyprus, the Unified Authority for Culture, where deemed necessary, will acquire an interplay role between the national institutions and the local partners involved, in order to secure sufficient cultural co-operation and interaction amongst all the major key players. Synergies will be further sought through the work of the various Ministries which are considered as important actors in terms of developing sector-specific policies for the successful implementation of the national cultural strategy. The latter is expected to be developed by the Unified Authority for Culture, based on wide-ranging consultation with stakeholders. It will be revised periodically so that new needs and developments are taken into consideration. The thesis also concludes that the current cornerstones of the music policy agenda, are centred upon two unifying policy themes - the provision of music education and the promotion and support for local talent and creativity. The aforementioned unifying policy themes bring creativity issues to light. On the basis of this context and by taking into account relevant policy implications, this study provides us with a framework for a new music policy model for Cyprus. It is therefore suggested that there are certain thematic policy areas that need to be further investigated. These policy areas can be summarised in the following broader issues: music education and community outreach cultural activities, fostering creativity through increased opportunities for musicians for career development, developing the music industry, national music infrastructure and networks of music institutions. It should be noted that the contextual nature of the investigated topic has been taken into account all throughout this research. It is for this reason important to note that despite the fact that this research proposes a structured approach to formulating a new cultural governance model, the proposed reforms should be revised periodically in order to better reflect any future developments in Cyprus. In carrying out this study there were certain limitations particularly because cultural policy and governance in the case of Cyprus had not been researched before and therefore there was a lack of statistical data and information. Nevertheless, it is perhaps for this very reason that this study's contribution to knowledge might be regarded as important. This work makes a further significant contribution to knowledge in that it tries to identify links and interconnections of the researched field with other policy areas. This study is thus an attempt to link horizontal issues and policy concerns to sector specific policies with the aim of fostering synergies and coherent approaches. This might in fact be the distinctive feature of this thesis, as work in the field of cultural policy research is either of a generic nature, based on general policy considerations, or of a very narrow nature, based on specific policy implications for particular art forms.

The ambiguous end of Beethoven's Diabelli Variations raises many interesting issues with regard to the closure of the work. The issue of closure is investigated with respect to theories of closure in music and in other literary fields. In examining the role of the coda in the Diabelli Variations, one finds that the coda answers some of the questions raised by the ambiguous end, and explains how the 'surprising final sonority' fulfils some of the expectations set up earlier. Closures of the variations are examined with respect to five parameters, namely melody, rhythm, register, texture, and dynamics. Theoretical writings of 18th _ century theorists (Kirnberger, Koch, and Reicha) and modem theorists (Schenker, Hopkins, Narmour, Oster, Sheer) are investigated to uncover the factors affecting the degree of closure in each parameter. The set of 50 Variations by 50 Viennese composers based on the same theme is used as a comparison to Beethoven's set. Comparison of the two sets finds more weak closures in Beethoven's set, with a large proportion of weak closures occurring in the second half of the set. A kind of 'system' is at work in Beethoven's set, whereby closures are weakened in the latter part of the set to create a more fluid structure. Such planning is absent in the 50 Variations, where the distribution of weak closures is more or less random. There are also more linked variations in Beethoven's set, and where obvious links are absent, subtle links are present through the connections of particular tones or the use of register and dynamics to link one variation to the next. Such subtleties are absent in the 50 Variations. Where existing sketches show alternative endings to the variations, these are used as comparisons to the final versions. The study of sketches often reveals alterations to the final bars of the variations. This shows that Beethoven was very conscious of the way one variation leads into the next, and he put considerable effort in writing these final bars. The fact that these changes occur at a relatively late phase of composition further proves that the closure of the variations is intimately linked to the structure of the work, which is why it was only at this late phase of composition, when the entire structure of the set was in sight, that Beethoven made these alterations. The five parameters of melody, rhythm, register, texture and dynamics are then considered together to see how they interact and a method of measuring the closural strength of each variation is suggested. The structure of the Diabelli Variations is re-evaluated by considering the closural strength of the individual variations. A three-division structure with closural points at Var. 10 and Var. 20 is proposed. Comparison of seven recordings by different artists finds the proposed grouping agrees with what performers have instinctively felt.

A reassessment of Frank Bridge's Phantasm – Rhapsody for pianoforte and orchestra H. 182, this thesis explores in depth its reception, structure, and manuscript sources in order to develop an informed performance interpretation of this ill-fated work. Although in the last two decades, an increasing number of doctorate projects and research have been conducted on Bridge, they have mainly examined his works from the analytical and historical perspectives. So far, no manuscript sketches have been studied or documented extensively, nor have the findings been used to aid the process of constructing an interpretation of his work. In view of Phantasm's troubled première reviews and subsequent unpopularity, I seek to find the possible contributing factors by examining the British music scene around the 1930s, and comparing Phantasm's initial reception with a number of relevant British works. The available manuscripts, together with an analysis of Phantasm's structure and a consideration of its generic affiliation are used to elucidate Bridge's creative process, and determine his conception for this composition. In addition, this approach offers insights into Phantasm's interpretation, which combined with an investigation of its somewhat scarce performance tradition and recordings, culminate in an informed performance of this work. As well as the written component, this submission consists of recorded music and a DVD demonstration of the sketch revisions. Excerpts from commercial recordings are used to illustrate issues relating to the performance practice of Phantasm, and the self-recorded two-piano performance demonstrates the interpretative findings of this project.

Schoenberg acknowledged the influence of a variety of composers upon the development of his ideas as expressed through his compositions and teaching. In seeking to define these relationships more closely, his response to Brahms's music is proposed as a subject of particular interest, on grounds both of the extent of his didactic references to Brahms and his claim to have based his early music partly on the study of Brahms. The thesis is advanced that these factors were intimately related, that his response significantly influenced the evolution of his concepts, and the study aims to clarify the nature of this relationship through reference to his didactic treatment of Brahms and the structure of selected early compositions. These aspects are critically discussed in the two central Parts, the former presenting a general outline of Schoenberg's concepts as a necessary basis for an examination of his treatment of Brahms. Three early works provide a focus for the study of his methods, namely: the String Quartet in D major (1897), the String Sextet in D minor (Verkl~rte Nacht) (1899), the String Quartet in D minor (1905). In each Part four areas provide a basis for discussion, namely: Harmonic and Tonal Relationshipss Thematic Processes and Phrase Structure, Contrapuntal Rel ati onshfps, Formal Relationships. Comparative references to the views of other critics of Brahms and to the works of other Brahms - influenced composers serve to place Schoenberg's approach in a broader perspective. The Introduction of the first Part elaborates the background to the study and clarifies its nature and scope, whilst the Conclusions of the fourth Part seek to draw some central themes from the diverse topics discussed and to assess the value of the response for Schoenberg.

This thesis explores the view that many of the difficulties and apparent eccentricities of Beethoven’s Late Quartets (particularly Op. 130, 132, 133 and 135) may be understood in terms of irony, in the sense that it appears in the philosophical and aesthetic writings of the early German Romantics. A chain of influence is demonstrated between Beethoven and Friedrich Schlegel’s philosophy of Romantic irony, through significant inter-personal relationships as well as through Beethoven’s exposure to Schlegel’s written works. This connection provides a firm hermeneutic basis for considering the composer’s work in terms of irony. The A minor Quartet Op. 132 is given as an example of Beethoven’s Romantic irony, and considered in terms of the constitutive elements of Schlegel’s Romantic irony – Paradox, Parabasis and Self-consciousness. However, this thesis also demonstrates that the irony within the Late Quartets goes beyond the confines of Romantic irony. The paradoxical structures of the Cavatina and Grosse Fuge are considered as examples of “general” or “existential” irony – a form closely related to Schlegelian irony. Moreover, the replacement finale of the Op. 130 quartet is shown to constitute a striking instance of satire: a bitter ironic comment upon the musical conservatism of Beethoven’s critics. This thesis therefore explores the philosophical background and the nature of irony itself, relating all of its forms to one underlying structure and to one fundamental process. This process – “objectification” – is derived from the work of Mikhail Bakhtin, and forms the theoretical basis for the structural approach of the analyses of irony within the thesis. The thesis also considers the relationship between irony and related phenomena such as wit and humour. It suggests that the differences between these concepts correspond to those between Beethoven’s Romantic irony and the wit and humour of his predecessors. Finally, the relationship between irony and ambiguity is also considered.

No description available.

No description available.