Thesis (Ph. D. in English)--Vanderbilt University, Dec. 2008. / Title from title screen. Includes bibliographical references.

Many aspects of Ignaz Jan Paderewski’s life and career have been the subject of previous research, but some important areas remain uninvestigated. Moreover, many biographies, especially those written in English, have hitherto rarely adopted a critical stance. My aim here is to examine those elements of Paderewski’s performance style that have not hitherto been fully studied. Unique Polish sources include unpublished letters written to his father and Helena Górska, his secretaries’ letters written in 1935 and between 1938-39, and of course his correspondence with his pupils, which sheds considerable new light on his views on, and success in, piano teaching. This dissertation discusses in detail his stylistic approach, attitude towards piano playing, preparation for performance and methods of interpretation. Unpublished letters between Paderewski and his pupils deal with such issues as: choosing concert programmes, techniques of pedalling and advanced interpretational issues. To further evaluate changes in Paderewski’s playing style over his career I have analysed a representative selection of his recordings made over the course of his career. Although Paderewski’s style did not change radically, some of the recorded pieces do demonstrate significant differences in interpretation, and his experiments in phrasing, dynamics, tempo and pedaling. I additionally compare some of the recordings of the same pieces by Paderewski and his contemporaries. For instance, Arthur Friedheim’s recording of Liszt’s Hungarian Rhapsody No. 2 in C sharp minor. An approach such as this will illuminate, for example, some differences in style between representatives of the ‘Liszt School’ (of which Friedheim was one of the most celebrated exponents) and that of Leschetizky (as represented by Paderewski). This documentation and evaluation of Paderewski’s performance style has naturally influenced my own performances of his works. The accompanying recital therefore includes one of Paderewski’s most substantial piano pieces, the Sonata in E flat minor, contrasted by a Sonata by Paderewski’s contemporary, Sergei Rachmaninov, and completed by works of Chopin in Paderewski’s repertoire, and a piece by his pupil, Ernest Schelling, also recorded by Paderewski. The recital therefore constitutes a practical application of Paderewski’s performance and programming styles as discussed in the dissertation.

This thesis explores the use of music in the literary works of author Willa Cather.

Ho Kar Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 123-127). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- The First Movement: the Mythologiques --- p.11 / Chapter Chapter 3 --- The Second Movement: “O King´ح --- p.27 / Chapter Chapter 4 --- The Third Movement: the Scherzo --- p.54 / Chapter Chapter 5 --- The Fourth Movement: “Rose de sang´ح --- p.84 / Chapter Chapter 6 --- The Fifth Movement: a Synthesis --- p.96 / Chapter Chapter 7 --- Conclusion --- p.110 / Appendix I Luciano Berio's Compositions from 1958 to1968 --- p.116 / "Appendix II The Poem ""Des Antonius von Padua Fischpredigt"" and its English Translation" --- p.118 / Appendix III Integral Texts Applied in the Fifth Movement --- p.120 / Bibliography --- p.123

This thesis considers the pervasive and multifaceted influence of Richard Wagner’s music, aesthetics, and politics on British composers during the late nineteenth and early twentieth centuries. Drawing on music analysis, hermeneutics, and various archival sources (composers’ writings, contemporary reviews, and unpublished music), each chapter of the thesis focusses on case studies that bring British musical Wagnerism into dialogue with a number of other prominent artistic and cultural currents during the period under consideration: notably, Celticism, Pre-Raphaelitism, Arthurianism, nationalisms, mysticism, pantheism, eroticism, and ideas relating to the integration of or translatability of the arts. Despite the sometimes widely divergent aesthetic, political, and social ends for which these composers called on Wagnerian ideas and techniques, this thesis argues that all these manifestations of Wagnerism were united by their composers’ desire to regenerate or re-enchant a world that was perceived to be in a state of crisis or decay. Ultimately, by viewing these composers and works through the lens of British Wagnerism, this study enriches our understanding of British music of the period and situates it the context of a wider European phenomenon.

Wong Ka-ki, Katrine Wong. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 123-132). / Abstracts in English and Chinese. / Acknowledgements --- p.vi / Chapter Chapter One --- Introduction --- p.2 / Chapter Chapter Two --- Medical Aspects in Shakespearean Drama --- p.11 / Chapter Chapter Three --- """If music be the food of love ´ؤ´ح：： Music as an Indicator of a Person's Attitude toward and Position in Love" --- p.47 / Chapter Chapter Four --- "Music: ""The patroness of heavenly harmony´ح" --- p.81 / Chapter Chapter Five --- Conclusion --- p.112 / Works Cited --- p.123

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 162-165). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (D. Mus. Arts)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 148-156).

This thesis attempts to characterize the musicality of Robert Browning's poetry. There has been much debate about whether or not Browning may be said to be a musical poet, but neither side has effectively characterized the musicality or lack thereof in his poetry. This study does not concentrate on Browning's "philosophy" of music, nor on the musical allusions in his poetry. Instead it attempts to identify aspects of Browning's art that share an affinity with music. / First, the state of music in nineteenth-century England is briefly discussed, followed by a discussion of Browning's musical background and an attempt to identify some general characteristics of musical poetry. The balance of the study is devoted to a discussion of the musicality of ten poems, among them "A Toccata of Galuppi's" and "Master Hugues of Saxe-Gotha". Emphasis is placed on these last two poems' ability to approximate a musical form: the toccata and fugue in the first, and the fugue in the second. The study concludes with a more general discussion of music in Browning's poetry.

1. Fiction. A young woman looses her lover as well as her best friend, and must learn to live on her own. Her brother, as well as music, nature and art, will help her through a painful mourning process. / 2. Critical analysis. This study shows how a little musical phrase from Vinteuil's sonata transforms, in Marcel Proust's Un amour de Swann, into a "real" woman representing Odette de Crecy, then becomes Swann's confident and, finally, appears as "the voice of truth", which will allow Swann to develop a new vision of life.