This thesis is a study of T.S. Eliot's poetry in the light of the different ways in which it can be considered 'musical'. Two concerns central to the thesis are: (1) Eliot's enduring interest in the musical quality of poetry; (2) the critical usefulness and viability of drawing analogies between his poetry and music. The thesis considers three important related topics: (1) Eliot's preoccupation with language, its inevitability and its inadequacy; (2) the figure of the seeker in his poetry; (3) his interest in mysticism. The thesis begins by exploring affinities between music and literature in the context of Wagner’s ideal of the 'Gesamtkunstwerk' and its influence on French Symbolist writers. It goes on to trace the development of T.S. Eliot's poetic style as influenced by the French Symbolist poets, by Dante and the mediaeval mystics, and by the music of Wagner, Stravinsky and other composers. Throughout, Eliot's poetry presents variations on the theme of detachment and involvement in relation to the figure of the seeker: consciousness is most engaged and challenged when it journeys. In the early poetry, music serves to emphasize failed relationships: the closer the physical proximity between protagonists, the greater the psychological distance. From The Waste Land on, Eliot makes use of myth and leitmotif to portray consciousness in the role of seeker urged on by the need for meaning. After his conversion to Anglo-Catholicism in 1927, Eliot's characters embark on a journey inward, where music, now "unheard", no longer signifies neurosis and despair, but becomes the only language for the ineffable.

Thesis (Ph. D.)--University of Washington, 1997. / Includes bibliographical references (leaves [175]-188).

Thesis (M.Arch.)--University of Detroit Mercy, 2008. / "28 April 2008". Includes bibliographical references.

À la Manière de Stravinsky is one piece in a series of works composed by Jean-Michel Defaye that written emulating the compositional styles of significant composers of the past. This dissertation compares Defaye’s work to common compositional practices of Igor Stravinsky (1882 – 1971). There is currently limited study of Defaye’s set of À la Manière pieces and their imitative characteristics. The first section of this dissertation presents the significance of the project, current literature, and methods of examination. The next section provides critical information on Jean-Michel Defaye and Igor Stravinsky. The following three chapters contain a compositional comparison of À la Manière de Stravinsky to Stravinsky’s use of rhythm, articulation, and harmony. The final section draws a conclusion of the piece’s significance in the solo trombone repertoire. This study will add to the published material on Jean-Michel Defaye and this influential series of pieces and is intended to further the interest of research into the works of this important composer.

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The primary objectives of this paper are to deal with Stravinsky's use of the trombone and to study the different methods of scoring for the instrument which he has employed in his works. In order to make this discussion more meaningful, the first chapter contains a brief history of the use and the development of the instrument from the fifteenth century up until 1900. In the second chapter Stravinsky's major works are divided into three periods, and each is individually discussed. The general characteristics common to the related major works are pointed out to provide an understanding of each period. The remainder of the paper is devoted to a study of Stravinsky's trombone scoring in three of his major works, one from each period. A concluding chapter summarizes his writing for the trombone as exemplified by these three works, and surveys the scoring for trombone in some of his other works.

O balé Agon é considerado o ápice da produção conjunta entre Stravinsky e o coreógrafo russo George Balanchine, e sua concepção foi repleta de descontinuidades. As ideias iniciais que motivaram a composição do balé datam de 1948, entretanto, Stravinsky começou a esboçar os primeiros rascunhos somente no final de 1953 e concluiu a obra, após algumas interrupções, em meados de 1957. Durante os anos de criação do balé, Stravinsky operou mudanças significativas em seu processo composicional, alguns movimentos remetem ao diatonismo de seu período neoclássico, enquanto outros são construídos a partir de elaborações seriais, desenvolvidas pelo compositor após o início da década de 1950. Este trabalho expõe os diferentes aspectos envolvidos na concepção do balé e, através da análise dos processos composicionais presentes na obra, busca determinar pontos de conexão em meio às referências díspares estabelecidas no diálogo entre música e dança. / The ballet Agon is considered the apex of the partnership between Stravinsky and the russian choreographer George Balanchine, and its creation was full of discontinuities. The initial ideas that motivated the composition of the ballet came up in 1948, but only in the end of 1953 Stravinsky began sketching the first drafts, and then in 1957, after some interruptions, he completed the work. During this years, Stravinsky made significant changes in his compositional process, some movements refers to the diatonicism of his neoclassical period, while others are constructed from serial elaborations, all of them developed by the composer after the 1950s. This dissertation expounds the several different aspects about the creation of the ballet and through the analysis of the compositional processes in the work, it attempts to determine the connection among the disparate references established in the dialogue between music and dance.

O balé Agon é considerado o ápice da produção conjunta entre Stravinsky e o coreógrafo russo George Balanchine, e sua concepção foi repleta de descontinuidades. As ideias iniciais que motivaram a composição do balé datam de 1948, entretanto, Stravinsky começou a esboçar os primeiros rascunhos somente no final de 1953 e concluiu a obra, após algumas interrupções, em meados de 1957. Durante os anos de criação do balé, Stravinsky operou mudanças significativas em seu processo composicional, alguns movimentos remetem ao diatonismo de seu período neoclássico, enquanto outros são construídos a partir de elaborações seriais, desenvolvidas pelo compositor após o início da década de 1950. Este trabalho expõe os diferentes aspectos envolvidos na concepção do balé e, através da análise dos processos composicionais presentes na obra, busca determinar pontos de conexão em meio às referências díspares estabelecidas no diálogo entre música e dança. / The ballet Agon is considered the apex of the partnership between Stravinsky and the russian choreographer George Balanchine, and its creation was full of discontinuities. The initial ideas that motivated the composition of the ballet came up in 1948, but only in the end of 1953 Stravinsky began sketching the first drafts, and then in 1957, after some interruptions, he completed the work. During this years, Stravinsky made significant changes in his compositional process, some movements refers to the diatonicism of his neoclassical period, while others are constructed from serial elaborations, all of them developed by the composer after the 1950s. This dissertation expounds the several different aspects about the creation of the ballet and through the analysis of the compositional processes in the work, it attempts to determine the connection among the disparate references established in the dialogue between music and dance.