Thesis (Ph. D.)--University of Pennsylvania, 1944. / Reproduced from type-written copy. Bibliography: p. 50-54.

Thesis (M.M.)--University of Wisconsin--Madison, 1967. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

The first three recitals contained solely performances of piano music. The first of these consisted of a Fantasy and a set of variations by Mozart, the Fantaisie in F minor by Chopin, and the Sonata in C minor by Schubert. The second recital contained an English Suite by J. S. Bach, two Etudes-Tableaux and two Preludes by Rachmaninoff, and the Piano Sonata of Ernest Bloch. The third recital consisted of four Sonatas by Scarlatti, a Fantasia (Variations) by the American composer, Ben Weber, a Sonata by Beethoven, Chose en soi and Pensée by Prokofieff, and a Polonaise by Liszt. The fourth recital was a lecture on symbolism in the Davidsbündler Dances of Schumann, examining various types of symbolism appearing in the Dances: use of quotations from his own and others' works, use of a motive based on the letters of a name, use of "stage directions," use of tonality as a symbol, use of word painting, and use of sound effects. The lecture was followed by a performance of this work.

This study uses analysis, comparison, analogy, and inductive reasoning, to defend the thesis that a theological interpretation of the musical imagination can be arrived at through a correlation of myth and musical form. The first part of the study develops the approach to musical symbolism called presentational idealism, from Plato and Aristotle, through Kant, to Susanne Langer. This approach is then developed alongside evidence from various sources for a relationship between myth and music, to reach the conclusion that a mythical analysis of music is productive and practical. / The second part of the study uses selected compositions of Stravinsky to illustrate the application of mythical analysis. By analyzing formal aspects of Stravinsky's music in terms of their mythic, ritual, and archetypal symbols, a theological quest is perceived in his work, which is dominated by three interrelated symbols: death, rebirth, and eternal life. These three symbols parallel another set of symbols which derives from his aesthetic stance: chaos, discipline, and freedom. By treating Stravinsky's compositions chronologically, a development is observed through his Russian, Neo-classical, and Serial periods, which indicates that these symbolic clusters, death/rebirth/eternal life, and chaos/discipline/freedom, are keys both to his aesthetics and to the spiritual development of his imagination. Evidence from Stravinsky himself is given priority, with analysis by scholars and critics introduced where it will clarify the thesis.

Inaug.-Diss.--Berlin. / Lebenslauf. "Mozarts opern in der Gesamtausgabe": p. 78. "Literatur": p. 79.

The lecture recital was given April 10, 1978. The importance of symbolism in and its relation to the music in Messian's Vingt Regards sur l'Enfant Jésus was discussed. The following pieces from this work were performed: I. Regard du Pére; II. Regard de l'étoile; III. L'échange; VII. Regard de la Croix; VIII. Regard des hauters; XIII. Noël.

No description available.

An in-depth study of Gustav Mahler's preoccupation with death was the foundational purpose for this dissertation. The song cycle Kinder-Totenlieder was the main composition examined, however, other works were mentioned to provide further proof of his obsession.The content of Chapter One presents Mahler's biographical data. Death is traced through his family history with the demise of brothers and sisters and his own beloved daughter, Putzi. An analysis by Sigmund Freud discusses his relationship with his wife, Alma, and his mother. Another area of interest includes his feelings towards his siblings, especially his brother, Otto, who committed suicide.Chapter Two concentrates on poetry, musical form and orchestration in regards to the Kinder-Totenlieder,. Specific musical examples are given which symbolize the underlying theme of death. Theories as to why the song cycle was written and whether it was a prophecy concerning his daughter's death are stated. A comparison of Rueckert's original poems and Mahler's textual changes in these poems are studied.Chapter Three investigates Mahler's other works, both vocal and symphonic, involving the theme of death. In consideration of the symphonic works, poetry, program notes, and motives taken from vocal works are viewed. Attention is given to the poetry and orchestration in the vocal works. His comments scribbled on the manuscript of his Svnphony No. 10 highlight his fear of death. Lastly, comments concerning his own funeral arrangements and burial bring into focus the despair over his own inevitable death.ConclusionMahler's preoccupation with death is reflected in almost all of his compositions. The tension felt within the music represents his struggle between life and death. Ultimately, he knew that death would win, but his compositions would hopefully bring him to the immortality he sought. / School of Music

Thesis--Rijksuniversiteit te Utrecht. / Musical examples: p. 125-148. "Geraadpleegde literatuur": p. 158-159.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 72-73).