Thesis (Ed.D.)--Teachers College, Columbia University, 1964. / Typescript; issued also on microfilm. Sponsor: Harry R. Wilson. Dissertation Committee: Charles W. Walton. Includes bibliographical references.

Thesis (M.A.)--University of California, Santa Cruz, 1998. / Typescript. Includes bibliographical references (leaves 190-193).

No description available.

Thesis (D.Mus. Arts)--University of Washington, 1987. / Vita. Bibliography: leaves [202]-204.

No description available.

Schubert's treatment of the medial caesura differs on many levels from that of the Classical tradition. He problematizes many of its norms, introducing complications to the course of his sonata movements. Much research has been devoted to Schubert's approach to sonata form, his large-scale formal deformations as well as his innovative harmonic language. However, few of these writings have discussed the importance of the medial caesura to his sonata forms. Through the lens of Sonata Theory, this dissertation examines Schubert's handling of the MC, demonstrating how the complications derived from his unorthodox practice modify the structural and rhetorical layout of his pieces. I investigate Schubert's approach to three stages surrounding the MC articulation, TR and the energy-gaining process, the MC point of articulation, and the S-theme, discussing specific formal and rhetorical complications that arise from each of them. In chapter 1, I reconsider Schubert's MC practice from a dialogical perspective, demonstrating how some non-normative procedures (in Classical terms) became the norm within his own style. In chapter 2, I examine the impact of two common Schubertian procedures on the function, perception, and meaning of the MC: tonally over-determined TRs and the early arrival of the secondary key within TR. Finally, in chapter 3, I demonstrate how Schubert broadened the available cadential arrangements within MC pairs in declined-MC situations, exploring the expressive potential of normative/non-normative dual oppositions. The conclusion shows that 1) Schubert's stylistic preferences radically expand many of the default procedures posited by Sonata Theory, inviting refinements of the theory; and 2) that the Schubertian MC may incorporate two structural roles beyond its most fundamental function as a formal articulator: clarification of the function of a formally ambiguous passage, which is often connected to cases of tonal over-determination or the early arrival of the secondary key; and introduction of tonal and formal complications into the work's trajectory, invoking some kind of "correction" or compensation.

Thesis (doctoral)--Rijksuniversiteit te Utrecht, 1982. / Summary in German. Includes indexes. Includes bibliographical references (p. 207-208).

During this project I have studied piano music by Franz Schubert (1797-1828) to thereafter use a couple of his harmonic structures as a foundation for composing music for piano trio. To write music that encourages improvisation and interaction between the band members has been a central focus while the broad goal of the project has been to develop myself as a musician and person. The project started in the fall of 2017, a senior recital was performed in Lilla Salen at KMH the 28th of February and was followed by time for reflection which can be found documented in my paper.             Something I wanted to try with this project was to create according to a partially predetermined method. I wanted Schubert’s music to have an impact on my compositions and from there I decided to transcribe harmonic structures on four of his works to rework these into new compositions. I hoped that this method would bring a forward motion to the work and in retrospect I believe it did. Composing with a few guidelines contributed with a sense of comfort to the process and made me stay on track through passages of low inspiration.             Reflecting on my work I feel that it became a good closure to my studies at KMH. A hybrid process showcasing different musical expressions, skills and sides to my personality with a work method that felt exciting. / <p>Examenskonsert</p>

Den här uppsatsen beskriver arbetet med utvalda delar av Schuberts sångcykel Winterreise och vilka tolkningsmöjligheter jag som kvinnlig sångare har när jag framför ett verk med manlig huvudperson. I diskussionen redogörs tre möjliga tolkningar, där den slutliga tolkningen blir att se flickan i sångerna och huvudpersonen som en och samma person. De sju utvalda sångerna kommer efter min analys att spelas in. / <p>1. Gute Nacht. 2. Gefrorne Tränen. 3. Erstarrung. 4. Auf dem flusse. 5. Frühlingstraum. 6. Die Nebenssonen. 7. Der Leiermann. Pianist Matilda Lindholm</p><p></p>

Den här uppsatsen beskriver arbetet med utvalda delar av Schuberts sångcykel Winterreise och vilka tolkningsmöjligheter jag som kvinnlig sångare har när jag framför ett verk med manlig huvudperson. I diskussionen redogörs tre möjliga tolkningar, där den slutliga tolkningen blir att se flickan i sångerna och huvudpersonen som en och samma person. De sju utvalda sångerna kommer efter min analys att spelas in. / <p>Inspelning:</p><p>1. Gute Nacht. 2. Gerfrorne Tränen. 3. Erstarrung. 4. Auf dem Flusse. 5 Frühlingstraum. 6. Die Nebensonnen. 7. Der Leiermann</p><p>Sång: Ninni Molin</p><p>Piano: Matilda Lindholm</p>