Zugl.: Freiburg (Breisgau), Univ., Diss., 2005

Zugl.: Freiburg (Breisgau), Univ., Diss., 2005

Dissertation. / Includes thematic index (Bd. 2). Includes bibliographical references, sources, and index.

Thesis (doctoral)--Grossherzoglich Mecklenburg-Schwerinsche Universität Rostock. / Vita: p. [83]. Includes bibliographical references (p. [v]).

Zugleich: Diss. Bern. / Titel der Diss.: Das religiöse Kinderlied im 19. Jahrhundert im deutschsprachigen reformierten Raum der Schweiz. Literaturverz.

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

Thesis (doctoral) - Univ., Freiburg (Breisgau), 2005. / Includes bibliographical references (p. 311-326).

Le compositeur espagnol Luis de Pablo a écrit nombre de pièces pour voix soliste et instruments, basées sur des textes poétiques, qui ont été fort peu étudiées.À tous les points de vue, ces oeuvres ne constituent pas un corpus homogène. À travers quatre axes analytiques (forme, timbre et instrumentation, vocalité et mélodie, sémantique et texte) correspondant aux quatre chapitres centraux, ce travail essaie de cerner à quel genre elles se rattachent et quel type de relation elles entretiennent avec le Lied, la mélodie ou la canción. Ces pièces vocales « de chambre », occasion privilégiée de rencontre avec la poésie, « émanent » d'un texte avec lequel elles entretiennent un rapport tout à fait spécifique. L’une de nos hypothèses est que l’on peut peut-être y déceler une influence « madrigaliste ».Cette thèse ambitionne in fine de resituer l'ensemble de ces oeuvres dans le parcours esthétique du compositeur, ainsi que dans leur contexte spatio-temporel à la fois espagnol et européen.La thèse aborde aussi d'autres questions subsidiaires, comme le rôle que joue la langue espagnole dans cette production, la capacité de la musique de transmettre une idée extra-musicale et la nette intertextualité qui se dégage d’une partie de ces pièces. Ce travail s’appuie dans son intégralité sur la voix personnelle du compositeur (recueillie dans des entretiens inédits, réalisés à Madrid de juillet 2011 à juin 2012). / Spanish composer Luis de Pablo is author of a number of works for solo voice and instruments (usually small instrumental ensembles), based on poetic texts, which is one of his less studied features of his oeuvre.From any point of view, these works are not a homogeneous group. Departing from four analytical perspectives (form, timbre and instrumentation, voice emission and melody, and semantic and text) which correspond to the four central chapters, this thesis seeks to answer the question of their identity as a musical genre and their relationship to Lied, mélodie and canción. As a music that « emanates » from a text, these « chamber » vocal pieces, meeting place par excellence with poetry, present in every level and parameter, a specific relationship to the text. We will try to elucidate a possible influence of madrigalisms in this relationship. The present thesis finally ambitions to place these works in the overall evolution of the composer and in the Spanish and European context.The thesis approaches also other questions like the role of Spanish language, the capacity of music to convey an extramusical idea and the high level of intertextuality in some of these works. This thesis uses along the exposition the personal voice of the composer (collected through our own unpublished interviews which were made in Madrid from July 2011 to June 2012).

Arnold Schoenberg's atonal monodrama, Erwartune. Op. 17 (1909). has been viewed as an unanalyzable athematic aberration, without any discernible form. Recognizing Erwartune's forward-looking aspect, this dissertation also explores the melodrama and the Lied, a connection with the past which forges a new understanding of its form and structure.

The purpose of this document is to examine Richard Strauss's 1918 song cycle Der Krämerspiegel in order to discern compositional intent and to address problems performers may face in communicating the work to a contemporary audience. Examining the existing literature, it is never clearly stated why Strauss composed such an anomalous song cycle that defied aesthetic and generic norms of the day. The premise taken in this study is that Strauss, who was litigiously forced to write the work in order to fulfill a contract with the publisher Bote & Bock, composed certain difficulties into the cycle to make it less marketable and thus less profitable for the firm. Furthermore, he commissioned a text that lampooned the publishing industry in general and certain firms and individuals in particular. Following a brief history of Strauss's involvement with the publishing industry, general considerations for interpretation are examined. The individual songs are then explored, keeping in mind the text's word play and parody, Strauss's use of self-quotation, and the challenges performers and audiences face when confronting Krämerspiegel. Finally, the individual songs are explored, and suggestions for preparation and performance of Krämerspiegel are given suggesting a more operatic understanding of the piece, especially given the cycle's relationship to Strauss's opera Der Rosenkavalier.