Thesis (Ph. D)--University of Rochester, 2008. / Includes abstract and vita. Accompanies: Reliquary : for piano and orchestra / by David Plylar. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7670

Thesis (D. Mus. Arts)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves 119-122).

Thesis (D. Mus. Arts)--University of Washington, 1995. / Vita. Includes bibliographical references (leaves [52]-54).

­^¤å´£­n¡G The compositional style of Franz Liszt was significant for its virtuosic feature, the use of thematic transformation technique, and transcriptions, which usually makes people ignore the importance of deep literature relationship in his music. In the Années de Pèlerinage: Deuxième Année written in 1838~1839, it has included compositions inspired from literature and arts. For the Three Sonetto of Petrarca from Années de Pèlerinage: Deuxième Année, Liszt had written five editions, which had never seen in other compositions. This research, based on the tenor edition published in 1846, focuses on the relationship of music and literature in the Three Sonetto of Petrarca piano edition published in 1858. Furthermore, Liszt¡¦s use of the technique of word painting, third relationship of harmonic language, and the unity between introduction and coda to build the construction of the poems is also explored.

Thesis (D. Mus. Arts)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 175-180).

Thesis (D.M.A.)--Ohio State University, 1993. / Includes vita. Includes bibliographical references (leaves 204-209). Available online via OhioLINK's ETD Center.

Thesis (doctoral)--Ludwig-Maximilians-Universität, München. / Includes bibliographical references (p. 213-227).

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 295-299). Available also in a digital version from Dissertation Abstracts.

No description available.

The Sonata in B minor occupies a hallowed position in Liszt’s oeuvre, according to scholarly assessment. Despite the plethora of literature on this consummate work, the vast majority of writings on the sonata have focused almost exclusively on formal innovation, thematic transformation, and programmatic speculation, and there is a dearth of interpretative analysis of the sonata based on its fascinating autograph manuscript, even though it has been publicly accessible and widely available in facsimile for some four decades now. In view of the fact that the autograph manuscript has never been examined for the express purpose of improving performance of the sonata, this dissertation proposes to approach this problem with the direct examination of the autograph and its numerous additions and deletions, and the analysis of the many interpretive implications stemming from the surprising insights offered by the autograph itself, which is on deposit at the Pierpont Morgan Library in New York City. The goal of the dissertation is to make readily accessible a comprehensive performance-oriented study of this summit of pianism, offering solutions to the many discrepancies among its various published editions, from the first Breitkopf & Härtel in 1854 to the most recent Peters Urtext in 2011, and including photographic reproductions of the unpublished material obscured behind and beneath the collettes (idiosyncratic terminology for additional pieces of paper pasted over the manuscript) together with the author’s engraved transcriptions thereof. In sum, the dissertation provides guidance and solutions for the various forms of virtuosic and interpretive problems that earn the sonata its reputation for being one of the most difficult works in the repertoire to understand and perform.