Thesis (M.A.)--University of Alberta, 2009. / Title from pdf file main screen (viewed on August 10, 2009). A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Comparative Literature. Includes bibliographical references.

Thesis (Ph. D.)--Indiana University, 2007. / Computer printout. Includes abstract and vita. "Appendix, Scores for songs discussed in this dissertation": leaves 207-270. Includes bibliographical references (leaves 271-275).

Thesis (M.A.)--California State University, Sacramento, 1996. / Includes bibliographical references (p. 175-179).

This study is an investigation of the relationships between music and the poetry of Wordsworth, Coleridge, Byron, Shelley, and Keats. Particularly it focuses on the nature of their musical subject matter and musical imagery in order to determine the extent to which they were influenced by aesthetic and philosophical musical theory, generally termed speculative music.

This research explores the functions of music by analyzing the relationship between musical and social classification. More particularly it focuses on the manifestation of this relationship during the active participation of audiences in music events where the individual and the collective, the musical and the social are argued to be experientially interwoven. The main argument proposed is that music categories as well as the ritualistic structures and expressions that shape their corresponding live performances are linked with perceptions and fantasies of the social self. Considering elements such as representations, performativity and the constitution of identity within social interaction, this study questions the class-­‐focused approaches conventionally employed to explore the subject. Contrarily it proposes that the ‘reality’ or fantasy of the social self is not ‘a given’ but it is personally configured, and relates the construction of social identities to notions of the spectacle. The interplay between the mediatized representations that shape music categories and individuals’ agency to choose and construct their identity is argued to produce different discursive and performative expressions of ‘the ideal’. In this context, music rituals are sketched as opportunities for the celebration and legitimization of their embodied values, and idealized social identities and relationships. The empirical part of this investigation focuses on Greek music audiences. Employing semi-­‐structured interviews it examines the way individuals with different music identifications construct their understandings of music categories and their rituals, as well as their perceived interconnections with social identities. Its findings suggest that music categories are perceived as naturally linked with different aspects of individuals’ social selves and realities that are expressed and actualized in music performances, verifying the performative and discursive intertwinement of the two modes of classification. However, the analysis of the data collected also indicates that the values expressed or experienced during such immersive processes, which combine social relationships, cultural categories, and multisensory experiences, necessitate widening the theorization of the ‘ideal’.

This paper delineates meaningful relationships of passions, emotions, feelings, affections, nuances and aural perceptions of expressions and utterances, for understanding human artistic possibilities historically and contemporarily in the fraternal arts of music and poetry, with reference to sounds, silences, sequences, rhythms, rhymes, repetitions, retards, accelerations, tempos, harmonies, melodies, forms, etc., in four poetic and three musical compositions uniquely created by its author.

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