Thesis (D.M.A.)--University of Wisconsin--Madison, 1985. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves 63-68).

Inaugural diss.--Basel. / Vita. Published also as Basler Beiträge zur Geschichtswissenschaft, Bd. 41. Bibliography: p. 91-93.

Texte remanié de: Diss.--Philosophische Fakultät II--München--Ludwig-Maximilians-Universität, 1990. Titre de soutenance : Sebastian Francks "Kriegbüchlin des Frides" : eine rezeptionsanalytische Untersuchung zum Verhältnis von Spiritualismus und Gesellschaft im frühen 16. Jahrhundert. / Contient en annexe la présentation synoptique d'un passage du texte de Francke et de ses sources latines ("De incertitudine", 79-80 et "Apologia adversus calumnias", 24-25 / Henri Corneille Agrippa. "De consideratione ad Eugenium papam / Bernard de Clairvaux, extrait du livre 4). Bibliogr. p. 185-202.

The problem of this study was to make a transcription of the second movement of Franck's Symphony in D Minor for a college symphonic band. A thorough discussion of problems of instrumentation and analysis, a brief history of the composer's life and works, and an evaluation of the contribution of the project is included in this document.

César Franck's sonata for violin and piano in A Major of 1886 is one of his last and one of his most prominent works. It has for long been one of my favourite works and I chose it for my Bachelor exam. It is a good example for the cyclic form used by various composers in the 19th century. Since the beginning, the tempo and character of the first movement have been discussed amongst musicians and scholars. Also, D'Indy, one of Franck’sstudents, analysed the themes and motives of the Sonata, which has raised discussions. The purpose of my essay is to analyse these discussions and to see whether the knowledge of this background and these discussions has helped me personally in my approach to the Sonatawhen I practiced itand whether it has influenced me in my interpretation. For this purpose, I used sheet music, literature and recordings.In summary, the knowledge of the background and of the discussions has helped me a lot to get a better access to the Sonata and thus influenced my interpretation. Without this knowledge, I would certainly not have come to such a deep and thorough understanding of the Sonata / <p>Besides the Sonata for Violin and Piano by César Franck, which I played together with Anna Christensson, I played the Solo Sonata no. 3 by Eugène Ysaÿe and Passacaglia by Johan Halvorsen together with Emma Alrikson.</p>

Thesis (Ph. D.)--University of Chicago, Department of Music, March 2001. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Massachusetts Amherst, 2009. / Includes bibliographical references (p. 225-239). Print copy also available.

Inaug.--diss.--Cologne. / Lebenslauf. Includes bibliographical references (p. 61-75) and index.

1800-talet var en turbulent period i Frankrike och mycket hände ‑ inte bara i samhället, utan även musikaliskt. Orgelbyggeriet utvecklades och orgelmusiken likaså. César Franck studerade piano och komposition, blev sedan organist och så småningom orgelprofessor. Under hans levnad lanserades en ny orgelteknik, med perfekt legatospel och briljant pedalspel, vilken allt sedan dess kommit att prägla sättet att spela även orgelmusik av Franck, trots att han egentligen var verksam före denna stils genombrott. I denna skriftliga reflektion diskuteras hur man, som interpret och organist, kan förhålla sig till olika interpretationstraditioner, i syfte att uppnå en historiskt och teoretiskt informerad gestaltning. Till grund för reflektionen ligger främst studier av litteratur och orgelnoter. Ur analysen framgår att Franck inte var särskilt strikt med hur han ville att hans orgelmusik skulle spelas, och att det finns skäl att tro att han själv spelade mycket fritt och i många fall betydligt snabbare, samt med bl a mindre legato än vad som ofta är brukligt idag. / <p>César Franck: Choral nr 2, h-moll</p><p>Organist: Fredrik Lundqvist</p>

A Dissertation submitted for the Degree of Master of Music to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, 1995 / This study is an investigation of the performance practice observed by organists when recording the organ works of Cesar FrancK against the criteria of score, instrument and tradition. Based on these findings, a more informed reconstruction of the interpretations and manners of performance employed by the composer and his contemporaries is obtained. [Abbreviated Abstract. Open document to view full version] / MT2017