Thesis (Ph. D.)--Universität Hamburg. / Includes bibliographical references (p. 235-246) and index.

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In this thesis, I demonstrate how I use leitmotif in a programmatic context in my original orchestral suite, The Legend of Two Rings.

Det här är ett konstnärligt arbete om att skriva ledmotiv baserade på bokkaraktärer ur boken Uprooted av Naomi Novik. Jag analyserar soundtracken från filmerna Guldkompassen och Sagan om Ringen: Härskarringen som är baserade på böcker och använder den informationen till mitt egna skapande av sammanlagt 13 ledmotivsdelar till fyra karaktärer. Analyserna av varje films soundtrack går in på instrumentering, melodi, harmonik och tempo. Dessa analyser tillämpades sedan på de fyra karaktärerna och jag kunde då skapa mina egna ledmotiv baserade på deras personligheter i boken.

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The thesis outlines one type of intermediality in literature, musical composition transformed into the structure of the modern novel. The theme is based on the philosophical and aesthetic ideas of the sovereign status of music within the other arts. The relationship between literature and music is described on the basis of this specific status. In the sphere of these various relations, attention is paid to the connection between musical composition and the composition of a novel (the manifestation of musical composition in a novel is named here as the musicality of literature). In the central part of the thesis there are demonstrated the possibilities of application of musical compositional devices in a novel through an analysis of three works (The Counterfeiters by André Gide, Point Counter Point by Aldous Huxley and Tonio Kröger by Thomas Mann). These musical compositional devices are: multiple melodic lines, musical cyclical forms and a leitmotif.

The aim of this dissertation is to investigate the distinctive character and variations in the landscape portraits in Synkkä yksinpuhelu, by the Finnish author Olavi Paavolainen, as well as investigate the significance of the landscape portraits for the work as a whole. Paavolainen calls his work a war diary. It comprises the years 1939-1944 when Finland suffered first the Winter War (Russo-Finnish War) and then the Continuation War with the Soviet Union. The author served at the front during the first year of the Continuation War and then afterwards at general staff headquaters. In the first part of the work the author focuses on describing the Karelian landscape which had become the battlefield. The latter part brings out the war time political events in Finland and in other parts of the warring world. As a form, the diary gives the author possibilities to use texts with various styles and content. In general, Synkkä yksinpuhelu can be said to contain history, autobiography, political and cultural essays, landscape portraits and travel sketches. The landscape portraits assume a central position in the book because of the scope, about a third of the total pages. In these portraits a few of the main themes of the work are developed. At the same time these themes build an antithetical relationship: nature creates and preserves life while war annihilates it. A number of the portraits, for exemple, descriptions of the moon and burial places, are a recurrent motif, giving the text structure and strengthening the theme of impermanence. In an exteded sense, Paavolainen's own concept of the thinking landscape can be used to characterize his portraits because the surrounding landscapes communicate his own moods and thoughts. This manner of describing nature ties together schools of art, such as romanticism, symbolism, expressionism and surrealism, where it is characteristic to allow the outer world to reflect the inner state of the soul. Paavolainen makes numerous references to works, authors and artists from the 19th and 20th centuries in his portraits. Using means such as irony and antithesis and with a sprinkling of ambivalence, the intertextual and interartistic relations illuminate the author's attitudes towards prevailing conditions. They also accentuate his thoughts about the purpose of existence.

Der Beitrag geht der Frage nach, inwieweit die Parallelstellenmethode, die Friedrich Cerha in seinem weithin akzeptierten Versuch der Ergänzung des 3. Akts von Lulu anwandte, von Bergs eigener Verfahrensweise abweicht. Eine Analyse des Materials aus den Akten 1 und 2, das nach der »Spiegelachse« des Werkes (dem Interludium zwischen der ersten und zweiten Szene des zweiten Aktes) wieder aufgenommenen wird, zeigt, dass Bergs Eingriffe in die Instrumentation weit gravierender waren, als es sich Cerha gestattete. Gegenstand der Analysen sind Bergs Technik und Ästhetik der Klangvariation, insbesondere die Art und Weise, wie sich die sinkende Verlaufskurve des Dramas (nach dem Tod Dr. Schöns) in der klanglichen Gestaltung von Rückbezügen auf frühere Szenen widerspiegelt. Zum Schluss werden andere Instrumentierungsversuche des dritten Aktes seit Ablauf der Schutzfrist im Jahr 2005 zur Diskussion gestellt: die Versionen von Eberhard Kloke, David Robert Coleman und Johannes Harneit. / Berg left his second opera Lulu unfinished: most parts of the third act only exist as a reduced score (particell) with very sparse hints at orchestration. When Friedrich Cerha ventured to develop the particell into a playable version, he based his work on numerous musical correspondences between the existing material of the third act and passages of the first two acts of the opera. Whenever there was a relationship, he used the orchestration of the parallel passage. On a closer view it becomes obvious, that Cerhas procedure differs substantially from Berg’s own: The composer himself at most instances changed the orchestration, when he used musical recurrences, especially in the second half of the opera (after the interlude of the second act). Here the variants of the timbre often illustrate the demise of Lulu and her »corona«, of which the article analyses some significant examples. Finally some recent attempts to create alternatives to Cerhas orchestration, the versions of Eberhard Kloke, David Robert Coleman and Johannes Harneit, are described and discussed.

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