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Thesis (M. Mus.) -- University of Stellenbosch, 2002. / Full text to be digitised and attached to bibliographic record. / ENGLISH ABSTRACT: The transcription for two pianos of Arnold Schonberg's Verkliirte Nacht fills a gap in the two-piano literature and gives an insight into the composer's earlier style of composition. Few works of this complexity exist in the two-piano literature. The process of transcription has to take into account the composer's structural and tonal language, and in particular the problems of transferring a composition from string instruments to the piano. The transcriber cannot imagine how the composer would have done a similar transcription, but the intentions of the composer in the original version can be interpreted and transferred in a stylistically acceptable manner. At all times the possibilities of the instruments should be taken into consideration. Given the complex sound texture of the original version, the suggestions for a twopiano version have to incorporate the following: note length and rest length, sound colour, attack/articulation, bowing, articulation markings, effects and texture. In the assignment an explanation is given of the deviations that stem from the above factors. The awareness of these deviations necessitates a distinction between arrangement and transcription and compels the transcriber to be as faithful to the original score as possible. The explanation of deviations further provides the performer with an awareness of the artistic possibilities that the work provides. / AFRIKAANSE OPSOMMING: Die transkripsie vir twee klaviere van Arnold Schonberg se Verklarte Nacht vul 'n gaping in die tweeklavier-literatuur. Dit gee ook verdere insig in die komponis se vroeere komposisiestyl. Daar bestaan min werke van hierdie soort kompleksiteit in die tweeklavier-literatuur. Die transkripsieproses moet die komponis se strukturele en tonale taal in ag neem - in die besonder die probleme rondom die transkribering van 'n strykkomposisie na 'n klavierkomposisie. Die uitdaging hierin Ie in die feit dat die transkribeerder die bedoeling van die komponis in die oorspronklike weergawe moet interpreteer en dan op 'n stilisties-aanvaarbare manier moet transkribeer. Die moontlikhede van die instrumente moet ook te alle tye in ag geneem word. Met inagneming van die komplekse klanktekstuur van die oorspronklike weergawe, fokus hierdie werkstuk op voorstelle vir 'n tweeklavier-weergawe rondom die volgende aspekte: noot- en ruslengte, klankkleur, aanslaglartikulasie, strykslae, artikulasieaanduidings, effekte en tekstuur. Afwykings rondom bogenoemde aspekte word ook verduidelik. Weens die transkribeerder se bewuswees van hierdie afwykings is 'n onderskeid tussen verwerking en transkripsie noodsaaklik. Boonop noop dit die transkribeerder om so getrou as moontlik te bly aan die oorspronklike weergawe. Die verduideliking van die afwykings maak die uitvoerende kunstenaar bewus van die artistieke moontlikhede van die werk.

This project consists of a theological exploration of unity, both divine and created, through an engagement with the writings of the composer Arnold Schoenberg (1874- 1951). It proceeds by examining Schoenberg'€˜s philosophy of unity as embodied in his compositional theory and practice, and brings to light his explicit and implicit metaphysical commitments through the lens of Arthur Schopenhauer's philosophy. A critique is offered that utilizes a vibrant tradition of contemporary trinitarian theology, drawing, in particular, upon the work of Colin Gunton. This theological critique employs 'musical space'€˜ to assist in 'sounding out€' and articulating a trinitarian and perichoretic model of unity. Thus, this thesis shows not only how theology can benefit the philosophy of music, but also how the philosophy of music can enrich and augment theological discourse. Part I examines unity from the perspective of 'particularity'˜. This inquiry traces Schoenberg's investigations into the material of music, from which he draws two conclusions: that conflict is essential to the musical material, and that the distinction between consonance and dissonance is illusory. Through adopting these assumptions into his philosophy of unity, Schoenberg unwittingly develops a theory of the many that undermines the value and integrity of material particulars. In response, this project counters with a trinitarian theology that upholds the integrity of particulars through a mutually constitutive understanding of particulars-in-relation. Part II examines unity from the perspective of 'the whole'€˜. This investigation focuses upon Schoenberg'€˜s structural principles of coherence, from which he makes three claims: that 'the whole'€˜ ('the musical idea') is distinct from the composition, that the essence of the musical idea must be expressed in every individual part within the whole, and that the primary goal of the composer is to express the musical idea. Schoenberg'€˜s construction of unity is, therefore, dependent upon privileging the one over the particular. Thus, Schoenberg'€˜s theory and practice lack the sort of unity in which the concepts of oneness and particularity are related adequately. This project proposes that a proper understanding of unity can arise only from a triune conception of being that holds oneness and particularity inseparably together: not as mutually exclusive, but as mutually constitutive.

Arnold Schoenberg viewed himself as an extension of the German Romantic tradition. Schoenberg's early unpublished songs prove his indebtedness to nineteenth century music, but they also show a great deal that is strictly Schoenbergian. This paper investigates the musical elements that Schoenberg assimilated from tradition, especially from the great Lied tradition of the nineteenth century. lements that may be associated with his later works are also investigated, namely the 2rundgestalt principle, and his use of the "primal cell," a trichord set that appears in works of all his periods. This paper shows how these elements are manifested in seven early songs. These songs are from the Nachod collection, an assemblage of correspondence and early unpublished music manuscripts by Schoenberg. This collection is owned by North Texas State University.

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Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 226-233).

Thesis (Ed. D.)--Teachers College, Columbia University, 1968. / Typescript; issued also on microfilm. Sponsor: Frederick D. Mayer. Dissertation Committee: Charles Walton, Lawrence Taylor, . Appendix A: Musical Scores of the A Cappella Choral Music for mixed voices of Arnold Schoenberg. Includes bibliographical references.

Thesis (Ph. D)--University of Rochester, 2008. / Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7669

Thesis (D.M.A.)--UCLA, 2009. / Program notes in English; song texts in Korean with English translation. Vita. Description based on print version record. Includes bibliographical references.