Diss.--München, 1996. / Bibliogr. p. 278-286. Index.

Diss.--Hambourg--Université, 1997. / Extraits de textes en hongrois. Bibliogr. p. 242-247.

Hugo Wolf (1860-1903) composed approximately 350 songs, many of which were written in an amazing brief time span with a keen intellect. This study mainly discusses six selected songs from the songbook Gedichte von Eduard Morike. The purpose of this study is to examine the kinship between Wolf¡¦s music and Morike¡¦s poetry by analyzing the melody, harmony, and poetic rhyme scheme of these songs. This lecture-recital document contains the following five main sections: the biographical information about Wolf, the musical characteristics of Wolf¡¦s lieder, the stylistic character of Morike¡¦s poetry, the background of Wolf¡¦s composing the songbook Gedichte von Eduard Morike, and a performance analysis of six selected songs of Morike¡¦s lyrics by Wolf. Each song exhibits Wolf¡¦s intuitive sense of blending word and sound. The new declamatory style, effective harmonic subtleties and expressive piano accompaniment are crafted to extract the essence of the poetry in Wolf¡¦s songs.

Texte remanié de: Dissertation--Musikwissenschaft--Marburg--Philipps-Universität, 2005. / Bibliogr. p. 648-676.

Five songs, op.40 / Robert Schumann -- Liederkreis, op.39 / Schumann -- Piano trio no.1 in B major, op.8 / Johannes Brahms. / text

Dichterliebe, op.48 / Robert Schumann -- Trios aquarelles / Philippe Gaubert -- Trio for oboe, bassoon and piano / Francis Poulenc. / text

Diss.--Cologne, 1995. / Bibliogr. p. 206-214.

When the tubist is first introduced to the bass tuba, Mahler's songs can be used as effective solo material. Through transcription, practice, and performance of art songs, novice bass tubists focus primarily on fundamental musical components such as tone quality, intonation, breathing, and musicianship. By identifying deficiencies in the current solo repertoire as related to the early stages of development on the bass tuba, I intend to address the need for more solo works through the transcription and performance of Mahler's Lieder und Gesänge aus der Jugendzeit.

Norwegian nationalist composer Edvard Grieg composed one hundred and eighty songs, including songs in Norwegian, Bokmal, German, and Danish. The Sechs Lieder, Op. 48 was written in German texts, which Grieg successfully merged the style of High Romantic Lieder with his Norwegian cultural background. This lecture-recital document contains the following four main sections: Grieg¡¦s biographical information, the musical characteristics of Grieg¡¦s art songs, the background of his composing the Sechs Lieder, Op. 48, and a performance analysis of the Sechs Lieder, Op. 48. The work captures the essence of German Lieder with its text painting and expressive piano accompaniment, and has earned a well-deserved place in the German Lieder repertoire, despite the fact that Grieg does not have German nationality.

Beethoven is generally acknowledged to be the most important composer of the 19th century. However, many critics and musicologists dismiss Beethoven's Lieder as being of less musical value and sophistication than his more instrumentally conceived late vocal writings. The true musical sophistication of Beethoven's Lieder can be discovered by a careful study of the harmonic structure and the relationship between the vocal and the piano part in Beethoven's Lieder. In discussing Beethoven's Lieder style based on analysis, a number of aspects shall be examined: (1) the harmonic idiom and key relationships; (2) the role of the piano; and (3) other stylistic features.