All of Mahler's works may be divided into four distinct chronological groups, referred to as "symphonic cycles." Motives and themes from the songs within each symphonic cycle were quoted in symphonies in the same cycle. This system of self reference was unique to Mahler, although earlier composers such as Schubert and Wagner set precedents for some of the techniques used by Mahler. The quotations in the early periods appeared only on the surface and did not blend well with their surroundings, but as time progressed Mahler developed the ability to combine the seemingly incompatible elements more smoothly. Mahler's early fascination with distant sounds was also a factor in his use of quotations. The appendix contains a catalog of 100 quotations.

This portfolio consists of four diverse original compositions written in 1999 : a string quartet, a cello suite and a set of two choral pieces.

This thesis ventures into the relatively neglected world of twentieth century vocal music, via the three song cycles of Oliver Messiaen. The song cycle is a comparatively young genre, generally dated from Beethoven's An die ferne Geliebte or by some, even later to Schubert's Die schone Miillerin. Nevertheless, considerable changes have taken place in the 160 years which separate Messiaen's cycles from those of the 'pioneers' mentioned above. A fuller appreciation of twentieth century cycles is facilitated by observing this evolutionary process and placing the works within an historical and cultural perspective. Such an introduction is provided in part one of this thesis, along with relevant details on the life and interests of Messiaen. The latter information gives insight into the compositions themselves and may satisfy the reader's curiosity on the origin of some of the more unexpected techniques or ideas Messiaen llses. Before embarking on a study of the cycles, it is necessary to look at the highly individual musical language of the composer. Section two undertakes this task in some depth, wherever possible relating the explanations directly to the songs which follow. In order to clarify the text and to simplify the exercise for the reader, numerous musical examples have been used. This contributes to the apparent bulk of this section. The main emphasis of the thesis is the detailed study of the 20 songs contained in Poemes pour Mi, Chants de Terre et de Cief and Harawi. The third section of the thesis deals with this material thoroughly and systematically, dividing it up into musical and extra-musical aspects. The texts are considered in terms of Surrealist, religious, Nature, numerological and, in the case of Harawi, mythological and Peruvian folk symbolism. The relationship of text to music is studied and evelopments highlighted. Musically, the study is further sub-divided into piano part and vocal part. In each case, an extensive exploration of the techniques required of the performer is presented. This makes possible the subsequent categorisation of the songs on the basis of similarities in the musical means. Conclusions reached show a progressive development through the three song cycles in the composer's handling of the text, his treatment of the voice, his use of the piano and his expansion of the voice-piano relationship. This body of solo vocal literature emerges as typical of Oliver Messiaen's compositional style in general and therefore properly representative of the meticulous craftsmanship with which his works are constructed. The detailed analysis of all aspects of the songs contributes original material to scholarship on Messiaen and on song cycles in the twentieth century.

Dichterliebe : op. 48 / Robert Schumann -- Paris / Cesar Franck -- Gianni Schicchi. Avete torto! ; Firenze e come un albero fiorito / Giacomo Puccini -- Suite Espanola / Agustin Lara -- On the town. New York, New York / Leonard Bernstein -- The holy city / Michael Maybrick. / text

The significance of a complete analysis of Schubert's orchestral larger works is self-evident to musicians and scholars. In the literature today one may find adequate analysis of many of the larger choral and orchestral works of the various masters, but rarely is it possible for one to secure a scholarly and intelligent analysis and interpretation of the smaller forms, especially the vocal works. Perhaps the reason for this state is the lack of interest in many of the aspects and phases of song literature as vocalists and teachers have probably been more concerned with the artistic rendition of the songs rather than an academic approach. But with the turn of the present decade, a decided interest has become apparent in musicological scholarship and the present study is but one evidence of the trend toward critical and academic analysis of smaller forms heretofore omitted in music literature.

The following analysis of Franz Schubert's (1797-1828) song cycle Schwanengesang (1828) was undertaken in the hope that such a treatment of the final contributions of this important master of song literature would prove of interest to students of this field.The materials examined comprise the fourteen songs collectively known as Schwanengesang (Dying Strains), taken from the G. Schirmer's Edition of Schubert's Songs with English translations by Theodore Baker. From a synopsis of the art song concluded with critical remarks on Schubert's style and contributions to the art of writing songs, the author has proceeded to a few general statements on the song cycle itself. This is followed by an analysis of each song from the point of view of the text, the general harmonic scheme, the vocal line, and the function and type of accompaniment.

Title from accompanying document. / A.M. Forbes, soprano ; J. Anschutz, piano, organ ; K. Irwin, oboe ; D. Bakke, T. McClure, violins ; E. Takehana, viola ; V. Pugh, violoncello ; J. Langenkamp, tenor ; S. Rushing, narrator. / Digitized by Kansas Correctional Industries

Title from accompanying document. / Digitized by Kansas Correctional Industries

The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.

The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.