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Ida Gotkovsky, a student of Olivier Messiaen and Nadia Boulanger, composed for nearly every instrument, voice, and ensemble. Although Gotkovsky's Concerto for Trombone is a monumental work for the trombone it is rarely performed and recordings are scarce. There is a general lack of scholarly attention to the music of Ida Gotkovsky, however, the technical and aesthetic quality of her music merits further examination. Previous studies of Gotkovsky's music focused on the analysis of individual compositions. However, much more can be learned by examining a work within the context of her general compositional output. Gotkovsky's compositional style includes extensive musical self-borrowing. The goal of this project is to demonstrate melodic and textural similarities and differences within her music to inform performance practice and to establish interest in her music. The context in which Gotkovsky reuses her music is significant and can provide additional musical insight. An informed awareness of her extensive use of self-quotation familiarizes the performer with her compositional language in a variety of musical settings. Such familiarity with her musical style leads to an improved and artistically educated performance.

Der etwa sechsminütige Liederzyklus für Singstimme und Violoncello, komponiert 2019, verwendet drei Gedichte der Kölner Schriftstellerin Carola Moosbach.:1. Einsammlung 2. Sonntagsgebet 3. Urlaubsgebet

Die Entstehungszeit von Johann Nepomuk Davids Gottesminneliedern für Gesang und Orgel umgreift von ihrer Konzeption in den späten 1920er-Jahren bis zu einer letzten, vom Komponisten als gültig erklärten Fassung aus den 1940er-Jahren etwa anderthalb Jahrzehnte. Ein Vergleich der unterschiedlichen Fassungen der Komposition macht nachvollziehbar, auf welche Weise sich die klanglichen Vorstellungen des Komponisten entwickelten. Es werden zudem Einblicke in aufführungstechnischen Fragen des Stücks gegeben.

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Clara Schumann’s 1850 tour of northern Germany with her husband officially ended with a successful concert in Altona where Jenny Lind made a surprise appearance. Immediately thereafter, one more concert featuring the pianist, singer, and Robert’s music was added at the last minute to take place in Hamburg. This too was a success. But a detail that made it especially memorable was Lind’s position behind the piano lid so that, as Clara recounted in her diary, many audience members could hardly catch a glimpse of her. This paper explores the rationales and implications of this singular and fleeting moment, and teases out aspects of the two star performers’ relationship both on and off the stage. In the process, the paper draws attention to hitherto neglected variables in the performance practice of Lieder and seeks to expand our lines of inquiry with regards to the 19th-century Lied as cultural practice.

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The songs of Hugo Wolf represent the culmination of the Romantic German Lied tradition. Wolf developed a personal chromatic harmonic style that allowed him to respond to every nuance of a poetic text, thereby stretching tonality to its limits. He was convinced, however, that despite its novel nature his music could be explained through the traditional theory of harmony. This study determines the degree to which Wolf's belief is true, and begins with an evaluation of the current state of research into Wolf's harmonic practice. An explanation of my analytical method and its underlying philosophy follows; historical perspective is provided by tracing the development of three major elements of traditional theory from their inception to the present day: fundamental bass, fundamental chords, and tonal function. The analytical method is then applied to the works of Wolf's predecessors in order to allow comparison with Wolf. In the investigation of Wolf's harmonic practice the individual elements of traditional functional tonality are examined, focusing on Wolf's use of traditional harmonic functions in both traditional and innovative ways. This is followed by an investigation of the manner in which Wolf assembles these traditional elements into larger harmonic units. Tonal instability, rapid key shifts, progressive tonality, tonal ambiguity, and transient keys are hallmarks of his style. He frequently alters the quality of chords while retaining the function of their scale-degree root. Such "color" chords are classified, and their effect on harmonic progression examined. Wolf's repetitive motivic style and the devices that he employs to provide motion in his music are also discussed. I conclude by examining Wolf's most adventuresome techniques—including parallel chords successions, chromatic harmonic and melodic sequences, and successions of augmented triads--and the suspension of tonality that they produce. This project encompasses all of Wolf's songs, and should be a useful tool for Wolf scholars and performers, students of late nineteenth-century music, the music theorist, and for anyone interested in the concept of harmony as a stylistic determinant.

Das Liedschaffen Felix Mendelssohn Bartholdys war zu Beginn des 21. Jahrhunderts nur zu knapp zwei Dritteln der tatsächlichen Produktion bekannt. Erst im Jahre 2007 erschienene, bis dahin ungedruckte oder an entlegener Stelle veröffentlichte Lieder werden in vorliegender Studie zusammen mit den übrigen, nicht mit einer Opuszahl versehenen Liedern und Duetten zu thematischen Untergruppen geordnet und knapp in textlich-musikalischer Hinsicht charakterisiert. Diese Lieder und Duette, die nach dem Wunsch des Komponisten in den allermeisten Fällen nicht in die Öffentlichkeit gelangen sollten, stellen das gewohnte Bild Mendelssohns, das des Heiter-Sorgfältigen, in ein neues Licht.