高慧玲. / 手稿本(複印本) / Thesis (M.A.)--香港中文大學, 1991. / Shou gao ben (fu yin ben) / Includes bibliographical references (leaves 87-99). / Gao Huiling. / Thesis (M.A.)--Xianggang Zhong wen da xue, 1991. / Chapter ´第¡章 --- 音樂的意義 / Chapter （一） --- Hospers的觀點 --- p.3-6 / Chapter （二） --- 對Hospers的駁斥 --- p.7-11 / Chapter （三） --- 音樂與符號 --- p.Dec-18 / Chapter （四） --- 表徵與表現 --- p.19-22 / Chapter ´第Ł章 --- 表徵論 / Chapter （一） --- 三種符號 --- p.23-26 / Chapter （二） --- 歌曲與表徵作用 --- p.27-31 / Chapter （三） --- 樂曲與表徵作用 --- p.32-51 / Chapter ´第Ø章 --- 表現論 / Chapter （一） --- 「表情」的三個向度 --- p.52-57 / Chapter （二） --- 音樂與情感的抒發 --- p.58-60 / Chapter （三） --- 音樂與情感的喚起 --- p.61-66 / Chapter （四） --- 音樂與情感的顯露 --- p.67-76 / 總結 --- p.77-79 / 註釋 --- p.80-86 / 書目 --- p.87-99

Thesis (Ph. D.)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 154-167).

Schoenberg's monodrama Erwartung, op.17 (1909), appeared at the dawn of early Expressionism, a movement which profoundly affected the composer's early works. This movement dealt in part with the alienation and isolation of the self in what many artists considered a corrupt and degenerate society. The first part of this thesis examines the possible influences of the Expressionist and Symbolist traditions on Erwartung's text and, to a lesser extent, the early history of psychoanalysis, of which librettist Marie Pappenheim was certainly aware. The impact of the changes made by Schoenberg to Pappenheim's original text, as well as some of his elusive stage directions are given consideration. The composer and librettist created a text which effectively obscures the boundaries between the protagonist's conscious and unconscious thoughts, hence confusing the audience's perception of perception of reality and illusion. / Schoenberg parallels this dramatic disjunction in his music, as is discussed in the second part of the paper. Certain representational moments (for example, pitch cells and ostinati) are presented; the musical context of these moments is radically changed in subsequent appearances, preventing them from being audibly recognizable, and from retaining a stable meaning. This discussion refutes earlier analyses of Erwartung which stress so-called motivic and thematic connections. Several illustrative moments in Scene IV are highlighted. Although on a local level, certain musical connections exist, what remains most disturbing and thus most effective in Erwartung is how the separateness of these 'climactic' moments gives the work its disjunct and temporally unpredictable quality.

Viennese Expressionism 1909-1913 encompasses parallel evolutions in the disciplines of visual arts and music. Ideas from fin-de-siecle Vienna's intellectual milieu inspired the awakening of the Modern artist, from Ur-schrei to the formation of a new aesthetic theory. In this thesis, I examine the origin of iconic Expressionist aesthetic values and their technical expression in works by Arnold Schoenberg, Egon Schiele, Oskar Kokoschka, and Wassily Kandinsky. Topics covered are divided into two broad thematic categories whose central tenets originate in preoccupations with, on the one hand, an emerging understanding of the unconscious and psychic pathology; and on the other hand, the metaphysical components to art and the human experience: sickness and spirituality. While it is not possible to compare directly art and musical works, common ideas and principles provide conceptual intersections that unify the disciplines in the realization of a collective artistic vision. / Le mouvement expressionniste viennois (1909-1913) recouvre des courantsparallèles dans les disciplines picturales et musicales. Les idées provenant des milieuxintellectuels du fin-de-siècle viennois ont inspiré le réveil de l'artiste moderne, depuis leUr-schrei jusqu'à la formulation d'une nouvelle théorie esthétique. Ce mémoire examinel'origine des valeurs esthétiques chères au mouvement expressionniste, ainsi que lestechniques utilisées pour exprimer ces valeurs dans les oeuvres d'Arnold Schoenberg,d'Egon Schiele, d'Oskar Kokoschka, et de Wassily Kandinsky. Les thèmes abordés sontdivisés en deux grandes catégories dont les fondements centraux émanent depréoccupations reliées, d'une part, à une compréhension croissante de l'inconscient et dela psychopathologie, et, d'autre part, aux aspects métaphysiques de l'art et de l'existencehumaine: la maladie et la spiritualité. Bien qu'il ne soit pas possible de comparerdirectement des oeuvres picturales et musicales, l'existence de principes et de thèmescommuns entraîne une confluence conceptuelle qui unifie ces disciplines dans laréalisation d'une vision artistique collective.

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Thesis (Ph.D. (African Languages)) --University of Limpopo, 2005 / This study investigates the expression of women abuse through female songs. Groups of singers from twenty-two communities were listened to during the study. A qualitative analysis was undertaken. Songs obtained from secondary sources, were compared and analysed in the same way in which those obtained from the singers themselves were analysed. In particular, the usefulness of these singing groups was examined. It was found that most of the women who are experiencing abuse of some kind, derive perceived social support from fellow singers. All the women in the different singing groups declared that they were not singing for the sake of singing but that they were sending messages to the perpetrators of abuse in the expectation that a change will be realized. Singing groups were found to be effectively providing assistance in dealing with emotional abuse. The study thus illuminates the subjective use of referential expressions in expressing abuse. This emphasizes the challenge for singers to check whether or not the manner in which they present their pleas is appropriate.

This dissertation investigates how German-language critics articulated and publicly negotiated ideas about music and expressionism in the first five years after World War I. A close reading of largely unexplored primary sources reveals that "musical expressionism" was originally conceived as an intrinsically musical matter rather than as a stylistic analog to expressionism in other art forms, and thus as especially relevant to purely instrumental rather than vocal and stage genres. By focusing on critical reception of an unlikely group of instrumental chamber works, I elucidate how the acts of performing, listening to, and evaluating "expressionist" music were enmeshed in the complexities of a politicized public concert life in the immediate postwar period. The opening chapters establish broad music-aesthetic and sociopolitical contexts for critics' postwar discussions of "musical expressionism." After the first, introductory chapter, Chapter 2 traces how art and literary critics came to position music as the most expressionist of the arts based on nineteenth-century ideas about the apparently unique ontology of music. Chapter 3 considers how this conception of expressionism led progressive-minded music critics to interpret expressionist music as the next step in the historical development of absolute music. These critics strategically—and controversially—portrayed Schoenberg's "atonal" polyphony as a legitimate revival of "linear" polyphony in fugues by Bach and late Beethoven. Chapter 4 then situates critical debates about the musical and cultural value of expressionism within broader struggles to construct narratives that would explain Germany's traumatic defeat in the Great War and abrupt restructuring as a fragile democratic republic. Against this backdrop, the later chapters explore critics' responses to public performances of specific "expressionist" chamber works. Chapter 5 traces reactions to a provocative performance of Schoenberg's Chamber Symphony, op. 9 (1906) at the Berlin Volksbühne in February 1920. Chapter 6 examines the interplay of musical-aesthetic and sociopolitical issues in critical reception of several postwar concerts that juxtaposed Schoenberg's "expressionist" Chamber Symphony with Franz Schreker's "impressionist" Chamber Symphony (1916). Chapter 7 considers how critics situated performances of Alexander Zemlinsky's Second String Quartet, op. 15 (1916) in relation to ideas about "expressionism" in music. Finally, Chapter 8 considers critical reception of performances of Béla Bartók's Second String Quartet, op. 17 (1917) in the context of two concert series sponsored by "expressionist" journals: the Anbruch-Abende in Vienna (1918) and the Melos-Abende in Berlin (1922 and 1923). Each of these final chapters uses contemporary criticism as a vehicle for a close reading of the relevant musical work, resulting in a portrait of "expressionist" music that is both contextually and musically nuanced.

Franz Schreker (1878-1934) was a Jewish-Austrian composer of great success during the first decades of the twentieth century. Schreker’s reputation diminished after 1933 when Hitler came to power and, in 1938, his compositions were labeled Entartete Musik (“degenerate music”) by the Nazis in a public display in Düsseldorf. The Third Reich and post-war Germany saw Schreker as a decadent outcast, misunderstanding his unique style that combined elements of romanticism, expressionism, impressionism, symbolism, and atonality. This study of Schreker’s Lieder will pursue two goals. First, it will analyze the Mutterlieder (before 1898), the Fünf Gesänge (1909), and the first piece from Vom ewigen Leben (1923) stylistically. Schreker composed nearly four dozen Lieder, incorporating a wide range of styles and ideas. By studying and performing these songs written at various points in his career (including early songs, songs written after he met Schoenberg, and his last songs during the height of his fame), I hope to develop a clearer understanding of how Schreker synthesized the many cultural forces and artistic movements that seem to have influenced his compositional style. Second, this study will consider the sociopolitical circumstances that fueled the disintegration of his reputation. This disintegration occurred not just during the Third Reich, but also afterwards, notably in an often discussed essay by Theodor Adorno. Only in the last thirty years have scholarly voices critical of such rejections of Schreker emerged. My ultimate goal, then, is to join this reevaluation, studying and contextualizing this repertory to develop a new understanding of an oft-neglected chapter in the history of the German Lied.