Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (doctoral)--Universität zu Köln. / Includes bibliographical references (p. 163-166).

Treatise (D.M.A.)--University of Texas at Austin, 2005. / Supervisors: Elliott Antokoletz and Phyllis Young. Vita. Includes bibliographical references. Also available from UMI.

Thesis (M.M.)--Youngstown State University, 2009. / Includes bibliographical references (leaves 137-138). Also available via the World Wide Web in PDF format.

Theological reflection on music commonly adopts a metaphysical approach, according to which the proportions of musical harmony are interpreted as ontologies of divine order, mirrored in the created world. Attempts to engage theologically with music’s expressivity have been largely rejected on the grounds of a distrust of sensuality, accusations that they endorse a ‘religion of aestheticism’ and concern that they prioritise human emotion at the expense of the divine. This thesis, however, argues that understanding music as expressive is both essential to a proper appreciation of the art form and of value to the theological task, and aims to defend and substantiate this claim in relation to the music of twentieth-century Russian composer Dmitri Shostakovich. Analysing a selection of his works with reference to culture, iconography, interiority and comedy, it seeks both to address the theological criticisms of musical expressivism and to carve out a positive theological engagement with the subject, arguing that the distinctive contribution of Shostakovich’s music to theological endeavour lies in relation to a theology of hope, articulated through the possibilities of the creative act.

In the vast output of Dmitri Dmitryevich Shostakovich, the chamber music hold a special place. These compositions, which the composer regarded them as ¡¥personal diary¡¦ himself, reflected both aspects of the social situation and the words forbidden by the power. With the ¡¥Piano Trio No.1 in C Minor, op. 8¡¦, we could trace back the traditions descended to Shostakovich during his early years. After stepping into his mature period, the interrelationship between structure perfection and motive development marked the ¡¥Piano Trio No.2 in E Minor, op. 67¡¦ a unique masterpiece. This article had taken research into both works, with discussion of two recordings by the composer and variable score editions. Hope this would make the performer grasp a full conception of these works and transmit the acurate spirit while performing.

Dmitri Shostakovich is one of the most important Russian composers of the Soviet period. Being a prolific composer, he had created a great many orchestra music and opera, as well as a substantial quantity of popular film music under the pressure of the Soviet regime. Although Shostakovich was judged crucially in one of his works in opera by Pravda in 1936, his passion still remained firm he for composition. It was only until his piano quintet finished in1940 that received the national awards, and became honored and well-known both domestically and internationally. In terms of chamber works, Shostakovich had composed one sonata each for violin, viola and cello and fifteen string quartets. His¡§Cello Sonata in D Minor, op. 40¡¨ finished in 1934. This work is subject to traditional musical form with unconventional tonality. For example, Shostakovich¡¦s use of unique harmonics and resonances, blended with lyrical melody and folk style, is so penetrative that it has become one of the most celebrated cello master pieces in Russia. This lecture-recital document includes three major discourses. The first and the second parts summarize the introduction of the background of modern Russia and the personal review of Shostakovich. The third section gives an analysis on the creation background and techniques of the ¡§Cello Sonata in D Minor, op. 40¡¨. This document will try to discuss the techniques and possible interpretations by looking into the recording by Shostakovich. Hopefully, the document can shed light onto the composer¡¦s originality.

Thesis (D.M.A.)--University of North Texas, 2007. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 31, 2003, Nov. 10, 2003, Mar. 29, 2004, and Mar. 8, 2007. Includes bibliographical references (p. 42-43).

Thesis (D.M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 160-165).

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Charles Walton. Dissertation Committee: Robert Pace. Includes tables. Includes bibliographical references.