Zugl.: Vechta, Hochsch., Diss., 2010

Roberto Gerhard was a twentieth-century Spanish composer known for his unique treatment of the twelve-tone system. A student of the Spanish nationalist composer, Felipe Pedrell in Barcelona and also a pupil of Arnold Schoenberg in both Vienna and in Berlin, Gerhard's musical trajectory led to a synthesis of these disparate compositional traditions. In this dissertation I will explore the development of Gerhard's compositional procedures. Here, his first string quartet, composed between 1950 and 1955, becomes a useful tool to illustrate how he made the transition from one musical style to another. Gerhard's first string quartet, composed between 1950 and 1955 exhibits various experimental formal procedures but is governed by a single twelve-tone row. The work is composed in the twelve-tone idiom, but nationalist elements decorate the musical surface. The first movement follows the classical model of sonata-allegro form, while mathematical proportions govern durations and formal elements in later movements. I will first investigate Gerhard's musical language and pitch material and then consider the challenges raised by implementing sonata form outside of a tonal idiom. I will then examine his unique mathematical approach to formal design in the third movement. In addition to the string quartet, I will explore Gerhard's treatment of form in such works as his Wind Quintet (1928) and Metamorphoses--Symphony no. 2 (1957-59). / text

Le present essai propose en premier lieu une analyse de la theorie linguistique de Walter Benjamin telle qu'enoncee dans son essai de 1916, Uber Sprache uberhaupt und uber die Sprache des Menschen. Dans un meme temps, il propose aussi une analyse de la theorie linguistique de la Kabbale telle qu'elaboree par Gershom Scholem tout au long de sa vie, dans un nombre non negligeable de publications, theorie dont il chercha a faire la synthese dans son essai de 1970, Der Name Gottes und die Sprachtheorie der Kabbala. / Cet essai se propose ensuite de demontrer comment Scholem et Benjamin ont trouve dans l'oeuvre de Franz Kafka l'expression litteraire de leurs theories linguistiques. / En conclusion, cet essai se propose de demontrer comment Scholem et Benjamin, a partir de leurs theories linguistiques respectives, et malgre la proximite indeniable de celles-ci, en sont venus a interpreter Kafka d'une facon diametralement opposee. Scholem, en effet, voyait dans cette oeuvre l'expression d'une des theories les plus nihilistes de la Kabbale: Die Unvollziehbarkeit der Offenbarung, une negation de la Revelation divine; Benjamin voyait pour sa part chez Kafka l'expression d'une tres mince possibilite de redemption.

Zugl.: Oldenburg, University, Diss., 2005.

Universiẗat, Mag.-Arb.--Trier.

Diss. Uppsala : Uppsala universitet, 2006. / Sammanfattning på engelska med titeln: The state of suspension : CSA and governmentality 1901-1921.

Zugl.: Wien, Univ., Diss., 2007

Zugl.: Berlin, Freie Univ., Habil.-Schr., 2007

Inaugdiss.--Frankfurt am Main. / Vita. Includes bibliographical references (p. 204-211).

Thesis (M.A.)--McGill University, 1999. / Written for the Dept. of German Studies. Includes bibliographical references.