Was geschieht, wenn ein Komponist aus einem Klavierlied ein Orchesterlied macht? Dieser Frage geht dieses Paper anhand von Gustav Mahlers Lieder eines fahrenden Gesellen mit besonderem Schwerpunkt auf dem zweiten Lied des Zyklus, »Ging heut’ morgen über’s Feld«, nach. Dass dieses Lied nicht nur in einer Klavier- und Orchesterfassung existiert, sondern auch in Mahlers erster Sinfonie zitiert wird, macht einen Vergleich auf mehreren Ebenen möglich. Die bisherige Forschung beschäftigt sich intensiv mit der Entstehungsgeschichte der Gesellenlieder (Roman 1974, Mitchell 2005) sowie, Bezug nehmend auf die in großer Zahl auftretenden Zitate verschiedenster Komponisten, mit der Einordnung des Werks in seinen kulturellen, literarischen und musikhistorischen Kontext (Celestini 2010). Weniger erschöpfend wird die Frage behandelt, inwiefern der Instrumentalklang bei Mahler ein eigener Kompositionsparameter ist (Riehn 1996). Einen umfassenden Vergleich zwischen Klavier- und Orchesterfassung auf der Grundlage der Musik selbst gibt es hingegen auch in den größeren Mahler-Monografien (Schmierer 1991, Mitchell 2005) bislang nicht. Daher werden im Paper durch eine detaillierte Materialerfassung zuerst die Klavier- und die Orchesterfassung hinsichtlich Gesangsverdopplung, harmonischer Auffüllung des musikalischen Satzes und Ausgestaltung der Basslinie miteinander verglichen. Anschließend wird untersucht, welche Änderungen sich wiederum bei der Übertragung von der vokalen Gattung Orchesterlied in die rein instrumentale Gattung Sinfonie ergeben. Anknüpfend an die Ergebnisse dieses Vergleichs wird der Versuch unternommen, Mahlers Klangideal in dieser frühen Phase seines Schaffens zu formulieren. / What happens if a composer creates an orchestra song on the basis of a piano song? This paper deals with this question by taking a deeper look at »Ging heut’ morgen über’s Feld« from Gustav Mahler’s Lieder eines fahrenden Gesellen. Not only does this song exist in a version both for piano and voice and orchestra and voice, but Mahler also quotes it in his first symphony. This makes it possible to conduct a multi-layered comparison. While previous research has focused on the genesis of the Gesellenlieder (Roman 1974, Mitchell 2005), their cultural, literary and music historical context (Celestini 2010) and Mahler’s skill in composing Klang (Riehn 1996), there is no detailed comparison of the piano and orchestra song versions existent to this day, not even in the more extensive monographs on Gustav Mahler (Schmierer 1991, Mitchell 2005). Therefore, this paper first compares the piano song with the orchestra song with the main emphasis on vocal doubling, arrangement of the middle voices and the bass line. Subsequently, the transfer from the vocal genre Orchesterlied into the instrumental genre of the symphony is examined. Based then on the results of these comparisons, it shall be attempted to formulate Mahler’s sound ideal in this early stage of his compositional output.

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Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.

Master's thesis addresses the implementation of didactic tool to musical movement activities of preschool children in kindergarten with respect to the integrative nature of education. The first part of the thesis is covering theoretical side of the important aspects of child development at the age of five to six years. Further it deals with the specifics of the development of musicality in preschoolers, especially focusing on instrumental side of the music. It highlights the musical creativity that flows from the principles of Orff School. Musical creativity is one of the objective of the thesis second, practical part. Here thesis research music educational project whose main component is a methodical set Cup Song that contains suggestions for practical usage. Experiment, observation and structured interview are used as methods of research that is focused on verification of the Cup Song impact on a musical and personal development of the child. KEYWORDS Music, musical abilities, preschool age child, musical instruments, integration, project, Cup Song, instrumental activity, creativity, rhythm, song, experience, Orff School.

Birdsong is one of the most astounding natural sounds which profoundly shaped our evolutionary thinking since the 19th century. Despite a strong interest in birdsong for over 100 years, our understanding of birdsong ecology and evolution over large spatial and phylogenetic scales is still very fragmentary. Answering many basic questions requires a global synthesis covering vast diversity of extant bird species and adoption of multidisciplinary approaches. In presented dissertation thesis, my co-workers and I have explored important patterns in macroecology and macroevolution of song in passerines (Order: Passeriformes), the most diverse and widespread bird order. We have focused on three key song phenomena: (1) song complexity, (2) song frequency and (3) the presence of song in female birds. We have exploited birdsong "big data" available on public citizen science databases and other open sources in order to fill several important gaps in the current knowledge. These data were analysed by a combination of phylogenetically-informed cross-species analyses and spatial macroecological approaches. Since the publication of Darwin's seminal work, elaborated songs are generally agreed to be the result of sexual selection. We developed a simple but reliable song complexity metric to explore a global diversity in...

Birdsong is one of the most astounding natural sounds which profoundly shaped our evolutionary thinking since the 19th century. Despite a strong interest in birdsong for over 100 years, our understanding of birdsong ecology and evolution over large spatial and phylogenetic scales is still very fragmentary. Answering many basic questions requires a global synthesis covering vast diversity of extant bird species and adoption of multidisciplinary approaches. In presented dissertation thesis, my co-workers and I have explored important patterns in macroecology and macroevolution of song in passerines (Order: Passeriformes), the most diverse and widespread bird order. We have focused on three key song phenomena: (1) song complexity, (2) song frequency and (3) the presence of song in female birds. We have exploited birdsong "big data" available on public citizen science databases and other open sources in order to fill several important gaps in the current knowledge. These data were analysed by a combination of phylogenetically-informed cross-species analyses and spatial macroecological approaches. Since the publication of Darwin's seminal work, elaborated songs are generally agreed to be the result of sexual selection. We developed a simple but reliable song complexity metric to explore a global diversity in...

The purpose of this research is to examine John La Montaine's only two song cycles for soprano and orchestra, Songs of the Rose of Sharon, opus 6 (1947) and Fragments from the Song of Songs, opus 29 (1959). In this investigation-the first ever specific to these works-I examine the works and cultural context in which they were created. I then evaluate the reasonable possibility that La Montaine used his public platform as a composer and performer to subtly celebrate taboo themes of feminism, sexuality, and blackness while shining a light on human injustice. Through close examination of social and historical context, I argue two points. Firstly, Rose of Sharon and Fragments are landmark American works. They are anomalies in classical music history in that a white male heralds texts about a black woman in an unlikely time in American history, thus arguably becoming an unlikely part of the evolution of African-American women in artistic endeavors. Secondly, in the performance guide, I advocate that these works would readily adapt to a staged performance. I discuss how La Montaine's musical settings illustrate the inherent drama of the text, provide a context for interpreting the protagonist in Rose of Sharon and Fragments, and present an interpretation of how these works could be staged. The ultimate goal of this research is to bring these intricately crafted masterpieces to the attention of singers and voice teachers so that they may assume their rightful place in the repertoire.

The underrepresentation of Mexican art song has left classical singers with few Spanish-language repertoire options. Currently, the music of Spain dominates this scene and Mexican art song has yet to earn a place in academic curricula and concert halls. Manuel María Ponce (1882-1948) retains an important position in Mexican music. However, Ponce's vocal repertoire—consisting of over 150 songs—remained dormant for many decades after his death due to its misclassification by music aristocrats in Mexico that greatly affected their diffusion. Consequently, few copies were published during Ponce's life, making them difficult to find. The need in the singing community for repertoire of this kind has raised many questions not only about its existence and availability, but also about its origins and relationship to the established Art Song canon. To promote the diffusion of this underrepresented repertoire, a style analysis of Ponce's Romantic Mexican Art Song is offered through the lens of his writings about Mexican Song. The analysis includes vital information about the origins, form, style, and subjects of these songs. Tangible examples of these traits are provided from Ponce's Doce Canciones Mexicanas along with historically-informed suggestions for singers and translations of the text with IPA transcriptions.