Beide Veröffentlichungen haben das Wirken des jungen Gustav Mahler zum Gegenstand ihrer Arbeiten gemacht.

Thesis (M.M.) -- Florida State University, 2004. / Advisor: Douglass Seaton, Florida State University, School of Music. Title and description from thesis home page (viewed 10-5-04). Document formatted into pages; contains Includes biographical sketch. Includes bibliographical references.

According to the critical tradition, Gustav Mahler’s music is full of memories, memories portrayed most frequently as being Mahler’s recollections of his own childhood. My study interrogates this trope—that Mahler’s entire oeuvre is an autobiographical puzzle waiting to be solved—using each of his first four symphonies as a case study. To accomplish this, I offer interpretations of each symphony, which rely on an analysis of the musical substance of the piece, and also refer to Mahler’s programs, potential allusions to preexisting material, and critical reception. Chapter 1 lays the theoretical foundation for these analyses, which draws on cultural memory, nostalgia studies, and the hermeneutics of Paul Ricoeur. In Chapter 2, by proposing connections between the Third Symphony and both the antisemetic political climate in Vienna and Mahler’s hopes for a conducting career in the city, I suggest that interpretation can make recourse to the composer’s biography without focusing on his childhood. Moreover, I use Mahler’s biography to suggest new avenues for approaching his music, rather than using his music to shed light on his life. In Chapter 3, I move interpretation away from details of the composer’s biography: I analyze his First Symphony with Freudian repression as a theoretical framework, but I focus on how repression might eludicate both the musical processes in the piece itself and the persistent recourse made to the suppressed program in reception of the piece, rather than attempting to explain Mahler’s own supposed neuroses. After proposing several ways in which music processes might resonate with forgetting in the form of repression, in Chapters 4 and 5, the Second and Fourth Symphonies are discussed in terms of mourning and nostalgia respectively, defined as two specfic types of remembrance. Turning in the final chapter to the later Seventh Symphony, I unwind the implications of the standard image of Mahler as a figure obsessed with the past. Mahler’s music grants us no access to his memories, but it does allow us to remember him. Our memories are all that remains, and the Mahler that we hear has always been merely our own construction. / text

In 1909 the composer Gustav Mahler and the sculptor Auguste Rodin, arguably the greatest composer and the greatest sculptor of the time, met in Paris. Both were transitional figures in their respective fields, representing the end of an era in their creative work. Their respective legacies nevertheless also inaugurated new ideas and inspired younger composers and sculptors. Rodin sculpted two portraits of Mahler, one of which — in pure white marble — is the main focus of the article. The refinement and beauty of this work is different from Rodin's male portraits in that the head is stylised like many of his female portraits, an ambiguity compounded by the fact that Alma Mahler, the composer's wife, wrote in her memoirs that Rodin fell in love with his model during the sittings. An understanding of the marble bust calls for an analysis of the life and work of the composer, fraught with ambiguities - as reflected in that superb portrait.

Olsson, Per-Henning: Petterssons sjunde symfoni. En jämförelse mellan formen i Allan Petterssons Symfoni nr 7 och Gustav Mahlers Symfoni nr 9, sats I. D-uppsats i musikvetenskap, ht 2001. Institutionen för musikvetenskap, Uppsala universitet. Uppsatsen syftar till att belysa Allan Petterssons symfonikomponerande, med avseende på form. Detta görs genom en jämförelse mellan Pettersson och Gustav Mahler. Mahler tas ofta upp i samband med Pettersson, varför jag har funnit det intressant att undersöka relationen mellan tonsättarnas musik. I uppsatsen jämförs formen i Petterssons Symfoni nr 7 med formen i Mahlers Symfoni nr 9, sats I. I uppsatsen tecknas en bakgrund till Pettersson, och de båda verken presenteras översiktligt. I uppsatsens centrala kapitel, "Jämförelse", diskuteras och jämförs verkens form. Både Mahlers Symfoni nr 9, sats I och Petterssons Symfoni nr 7, har en form som är flertydig. Men flertydigheten innebär olika saker: Första satsen av Mahlers Symfoni nr 9 är dubbeltydig, den kan tolkas antingen som en dubbelvariation eller en sonatform, medan det i Petterssons Symfoni nr 7 till och med kan diskuteras vilka symfonins huvudavsnitt är. Om man jämför med formen i tidigare symfonier (av t.ex. Beethoven och Brahms), är ordningen i både Mahlers Symfoni nr 9, sats I, och Petterssons Symfoni nr 7 uppbruten. När Mahler skrev sin nionde symfoni var vanligen första satsen i sonatform, och dubbeltydigheten var kanske för honom ett sätt att skriva någonting nytt. Pettersson har till och med uttryckt tanken om en ny form: "No one in the 50's noticed that I am always breaking up the structures, that I was creating a whole new symphonic form". Det är svårt att enkelt beskriva formen i Petterssons Symfoni nr 7. Formen är upplöst, tonsättaren har "brutit upp strukturerna". Men det går att även i Petterssons Symfoni nr 7 se spår av sonatformen. Avsnitt av Petterssons symfoni fyller samma funktion som delar av sonatformen. Och man kan hitta grundläggande idéer (något som kan kallas "formfunktioner") från sonatformen: en polarisering etableras i början, den intensifieras i mitten, och upplöses i slutet. Hos Mahler finns sonatformen kvar, men satsen kan även tolkas som en dubbelvariation. Hos Pettersson är det inte lika tydligt, men sonatformen finns kvar i form av "formfunktioner", grundläggande idéer.

Zugl.: Wien, Univ., Diplomarbeit

Thesis (M.M.)--University of North Texas, 2007. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 49-53).

Scholarship on Gustav Mahler’s (1860–1911) late works is often overshadowed by the events of 1907: the death of his daughter, his resignation from the Vienna Court Opera, and the diagnosis of his heart condition. The subjective juxtaposition of this biographical detail on his last works—Das Lied von der Erde (1908), the Ninth Symphony (1909), and the Tenth Symphony (1910, unfinished)—has provoked the application of themes of death, transcendence, and farewell as extra-musical elements to his music. While scholars such as Vera Micznik, Henry-Louis de La Grange, and Stephen Hefling have called the acceptance of this program into question, there has yet to be a more objective analysis of Mahler’s last works via the lens of late style theory. This thesis explores two of Mahler’s last works, Das Lied and the Ninth, through the application of Edward Said’s theory of late style. Rather than approaching death with harmony, resolution, and transfiguration, the late artist in Said’s theory evokes “intransigence, difficulty, and unresolved contradiction”. Instead of a psychological or biographical interpretation of late style, Said’s theory focuses on irreconcilable characteristics that set the artist apart from the age in an anachronistic way. Following his more objective approach of interpreting late style, this thesis relies on the musical elements that characterize Mahler’s late style, categorized as anachronism, disintegration, and evasion of closure. Through the discourse of Said’s late style theory, this thesis reveals alternative means of interpreting Mahler’s late style that avoids the myth of the artist transfigured by death.

Made available in DSpace on 2016-03-15T19:45:29Z (GMT). No. of bitstreams: 1 Ana Claudia F Queiroz Evaristo.pdf: 2200391 bytes, checksum: 584b9ae11154b6dc15bc09f47e5182e6 (MD5) Previous issue date: 2012-01-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The novel Somewhere in Time (1975), by the American author Richard Matheson, presents time as the most relevant element in the elaboration of this novel which ranges between Fantasy and Science Fiction. Time appears in the novel through many perspectives not only as part of the narrative structure, as a character, but also connected to a musical element, more specifically to Gustav Mahler's symphonies. The main focus of this analysis is to reflect about Time and character in the narrative once time is the real antagonist in Matheson s story. In his battle against Time, the character Collier has no control over it, neither in the present time(1971) nor in the past time (1896), considering that he travels back to the past in search of a lost love. The time travel in the novel indicates a reflection about time irreversibility through an immersion into an imaginative world, exposing the intriguing feelings that strike the different historical subjects. / O romance Somewhere in Time (1975), do autor norte-americano Richard Matheson, apresenta o tempo como elemento de maior relevância no interior da construção narrativa, que transita entres os gêneros Fantasy e Ficção Científica. Tal elemento surge na obra por meio de várias perspectivas: como personagem, como parte da estrutura narrativa e, também, relacionado à questão musical, mais especificamente, às sinfonias do compositor Gustav Mahler. O enfoque principal deste trabalho é o estudo das categorias tempo e personagem na narrativa, sendo que o tempo é percebido como verdadeiro antagonista do herói, Richard Collier. Em sua batalha com tempo, a personagem Collier não tem controle sobre o tempo real, aquele no qual está imerso em 1971, nem do tempo passado em 1896, revestido pela aparência de presente. A viagem no tempo, proposta no romance, anuncia uma reflexão a respeito da irreversibilidade do tempo por meio de uma imersão em um mundo imaginativo, povoado pelos medos inerentes aos diferentes sujeitos históricos.

Beide Veröffentlichungen haben das Wirken des jungen Gustav Mahler zum Gegenstand ihrer Arbeiten gemacht.