The analytical literature posits a dichotomy between Copland’s “popular” and “serious” music. Despite different motivic and hannonic structures on the surface, however, these styles are consistent in their underlying use of tonality. Tonics in both styles are defined by the same set of tonicizing techniques; and tonics in both styles serve the same function — to define the changing scale-degree function of pcs that are emphasized in various ways as common to the collections of successive tonics. The most important of these changes in scale-degree function are summarized in pitch-class continuity graphs that show the relation of the changes to thematic and harmonic form. Detailed analyses, which cover two “popular” and two “serious” works by Copland, demonstrate the consistency between the two styles. Besides demonstrating an underlying stylistic consistency these graphs provide useful information about structure in Copland’s music because they confirm striking features of Copland’s thematic and tonal designs.

Günter Kochan (1930-2009) war einer der erfolgreichsten und bekanntesten Komponisten der DDR. Er hinterließ über 200 Werke, darunter zahlreiche bedeutende sinfonische Arbeiten, die jedoch nach der Wende größtenteils in Vergessenheit gerieten. Kochan galt als staatsnaher Komponist und wurde dementsprechend nach 1990 an den Rand gedrängt, seine Musik wurde nun vor allem nach ihrem politischen Inhalt hinterfragt und geriet aufgrund ausbleibender Aufführungen und Neuveröffentlichungen alsbald in Vergessenheit. Die Arbeit behandelt das Spannungsfeld zwischen auferlegten kulturpolitischen Regeln und individuellem künstlerischen Entfaltungsstreben vor dem Hintergrund der offiziellen Leitlinie des "sozialistischen Realismus" in der DDR. Sie beleuchtet dieses exemplarisch anhand der Biographie und des Schaffens von Günter Kochan. Nach einer allgemeinen Darstellung der DDR-Kulturpolitik von 1949-1990, einer Kurzbiographie und einem Überblick über Kochans Gesamtschaffen konzentriert sich die Arbeit auf die Analyse und den Vergleich der 2. und 6. Sinfonie (entstanden 1969 und 2006), die als Beispiele für Kochans musikalische Hauptdomäne herangezogen werden und an denen typische Merkmale seiner Musik im mittleren und im greiften Stil vergleichend herausgearbeitet werden. Die Arbeit baut auf mehreren Interviews mit Vertrauten Kochans auf und nutzt zudem bisher wenig bis gar nicht beachtete Quellen sowie bisher unveröffentlichte Werke Kochans. Sie ist die erste Gesamtdarstellung zu Leben und Werk des Komponisten und enthält zudem das erste vollständige, systematisch und chronologisch geordnete Werkverzeichnis der Kompositionen Günter Kochans sowie eine Übersicht der derzeit verfügbaren Tondokumente.

Ignacy Feliks , a Polish composer active in Warsaw, is best known for having been a colleague of Frederic Chopin while they were both composition students of Jozef Eisner. As an early nationalist composer, Dobrzynski is examined within the context of nineteenth-century Warsaw's musical culture and political situation. Dobrzynski early training was provided by his father, who was Kapelmeister at the Ilinski court in Romanow. The most important achievements of the career which followed Dobrzynskifs move to Warsaw in 1825 include second place in an 1835 Viennese contest with the Second Symphony, a German tour in I8I8, and the directorship of the Teatr Wielki in 1852. Cast in the late eighteenth-centurv style, Dobrzynski two symphonies were composed in 1829 and 1831. These works show knowledge of Beethoven's music and exhibit Dobrzynski's skill at orchestration. Symphony No. 2 in C minor, Op. 15, is the more important work because of national elements in each movement, as well as its success in a Viennese symphony contest in 1835. Although a precedent for national elements is seen in studying the development of the Polish symphony in the eighteenth and early nineteenth centuries, Dobrzynski's contribution shows an intensification of musical patriotism which was inspired by the November Insurrection of 1830-1831. An edition of the Second Symphony and a list of Dobrzynski's works are included in the dissertation.

The analytical literature posits a dichotomy between Copland’s “popular” and “serious” music. Despite different motivic and hannonic structures on the surface, however, these styles are consistent in their underlying use of tonality. Tonics in both styles are defined by the same set of tonicizing techniques; and tonics in both styles serve the same function — to define the changing scale-degree function of pcs that are emphasized in various ways as common to the collections of successive tonics. The most important of these changes in scale-degree function are summarized in pitch-class continuity graphs that show the relation of the changes to thematic and harmonic form. Detailed analyses, which cover two “popular” and two “serious” works by Copland, demonstrate the consistency between the two styles. Besides demonstrating an underlying stylistic consistency these graphs provide useful information about structure in Copland’s music because they confirm striking features of Copland’s thematic and tonal designs. / Arts, Faculty of / Music, School of / Graduate

Au début du XIXe siècle, le paysage socio-politique européen est dominé par les bouleversements en provenance de France. Réagissant à ceux-ci, l’empereur Franz I restreint les libertés individuelles des sujets du Saint Empire Romain, tandis qu’au sein de l’aristocratie se trouvent au contraire des adeptes de l’Aufklärung, défenseurs de liberté et de tolérance. C’est dans ce contexte que Beethoven compose sa troisième symphonie en 1803-1804. Solomon (2004) a démontré que le compositeur a fréquenté sa vie durant des adhérents aux principes de l’Aufklärung, dont plusieurs francs-maçons. Des symboles maçonniques de sa main ornent d’ailleurs une page d’esquisses pour l’Eroica (Lockwood, 2013). Il semble donc naturel d’explorer cette œuvre sous cet angle. Une analyse formelle de l’Allegro con brio, la première selon la méthode de Caplin (1998), permet de faire ressortir une récurrence marquée du chiffre 3 à travers plusieurs paramètres (tonalité, métrique, rythme, forme, instrumentation). De plus, les trois étapes du rite initiatique (mort, enterrement et résurrection) sont représentées dans les trois premiers mouvements, tandis qu’on retrouve dans les trois derniers mouvements des évocations de la devise française Liberté, Égalité, Fraternité Cette relecture sous l’angle d’une interprétation maçonnique d’une œuvre fondamentale du canon symphonique apporte une contribution inédite à l’historiographie sur Beethoven ainsi qu’à l’histoire de la pensée et des sociétés. / At the beginning of the 19th century, the changes coming from France dominate the European sociopolitical landscape. In reaction to these, Franz I restricts individual freedom of the subjects of the Holy Roman Empire, while within the aristocracy, the numbers of adepts of the Aufklärung movement and believers in freedom and tolerance are growing. It is in this context that Beethoven composes his Third Symphony in 1803-104. Solomon (2004) has demonstrated that his whole life, the composer was surrounded with members of the Aufklärung, many of them also freemasons. Masonic symbols in Beethoven’s hand are even to be found on a page of his sketchbook for the Eroica (Lockwood, 2013). Therefore, it only seems logical to analyse the symphony from the angle of a masonic interpretation. A formal analysis of the first movement according to Caplin’s method (1998), the first of its kind to be applied to a whole movement from a Beethoven symphony, brings to the fore a marked recurrence of the number three throughout numerous parameters (tonality, measure, rhythm, form, instrumentation). Furthermore, all three steps of the masonic initiation rite (death, burial and resurrection) are represented in the first three movements, whereas one also finds references to the French motto of Liberté, Égalité, Fraternité in the last three. This new reading of a fundamental work of the symphonic canon represents a novel contribution to the historiography of Beethoven.

This study examines the finale of Beethoven's choral symphony and focuses on its inspirations and aims to invoke critical theories involving genre, namely genre's "horizon of expectation", and lead to an enriched perspective that points toward a number of compelling aspects of the Choral Finale overlooked by previous commentators.

The films of David Lynch are full of ambiguities that derive from his habitual distortion of time, inversion of characters, and creation of ironic, dreamlike worlds that are mired in crisis. While these ambiguities have been explored from numerous angles, scholars have only recently begun to closely examine music's role in Lynch's cinematic imagination. This dissertation explores the relationship between music and fantasy through the lens of Lacanian psychoanalysis where fantasy plays a crucial role in helping psychoanalytical subjects work through their psychical crises. In particular, I look at Blue Velvet (1986), Lost Highway (1996), and Mulholland Drive (2001), showing how Lynch employs music to manage and, in the case of Mulholland Drive, move beyond the particular crises of jouissance experienced by the Characters--and also the viewers. Before engaging in my analysis of Lynch's film music, however, I begin with an extended discussion of what Kevin Korsyn describes as the current crisis of music scholarship, examining how this crisis manifests itself in recent "postmodern" interpretations of Beethoven's Ninth Symphony. Few works are invested with as much cultural capital as this one and arguably the discourse around it exhibits the crisis more acutely than any other. Korsyn restricts his analysis to the fields of musicology and music theory, but I approach the crisis of music scholarship obliquely, through my Lacanian reading of Lynch's film music. This dissertation, then, has two goals. On one hand it attempts to examine music's role in Lynch's films, and on the other, it explores how Lynch's use of music might aid us in navigating and moving beyond the institutional crises of music scholarship. This Lynchian solution to our crisis provides a glimpse of what might lie beyond postmodernism, a new philosophical movement some are calling the "New Sincerity." This term covers several loosely related cultural or philosophical movements that have followed in the wake of postmodernism, the most notable being what Raoul Eshelman and Judith Butler refer to as "performatism." Finally, I return to Beethoven's Ninth to offer a second, performative reading, demonstrating how Lynch's use of music can be translated into current musical discourse. / text

1 score (x, 113 p.) / The implementation of an informed cross-relationship between two independent art forms has often been a source of inspiration for artists throughout the millennia. However, in the late 19th century, both Russian and French thinkers and artists began to build upon this notion by creatively considering the intermingling of sensory experiences as well. The resulting artwork from this temporally specific era was described as being "Symbolist," referencing both the intermedial and multi-sensory processes involved and/or considered in creating the respective work. My personal penchant to explore this artistic approach has resulted in a symphony that was inspired by, and intimately considers, five individual pieces of French "Symbolist" art, poetry, and sculpture. Each movement specifically focuses upon one of the five human senses. The respective works are: the sculpture "Le baiser" by Auguste Rodin (touch), "Parfum exotique" from Les fleurs du mal by Charles Baudelaire (smell), "Tristesse d'été" by Stèphane Mallarmé (taste) as published in Du parnasse contemporain, the painting "Hina tefatou" by Paul Gauguin (sight/insight), and "Chanson d'automne" from Poèmes saturniens by Paul Verlaine (hearing/listening). / Committee in charge: Dr. David Crumb Chairperson, Advisor， Dr. Robert Kyr， Member； Dr. Jack Boss， Member； Dr. Jenifer Craig， Outside Member

The present study develops a dynamic model of strict and free composition that views them as relative to a specific historical context. The dynamic view espoused here regards free embellishments of an earlier compositional generation as becoming the models for a strict compositional theory in a later one. From the newly established strict compositional models, succeeding generations of composers produce new free embellishments. The first part of the study develops the dynamic conception of a continuously emerging strict composition as the context necessary for understanding Anton Bruckner's compositional methodology with respect to the harmonic instruction of his teacher, Simon Sechter. In other words, I view Sechter's harmonic theories as a strict compositional platform for Bruckner's free compositional applications. Many theoretical treatises of the seventeenth, eighteenth and nineteenth centuries such as those by Christoph Bernhard, Johann Philipp Kirnberger and Sechter acknowledged that strict composition must provide the structural framework for free composition. The above procedure becomes a manner of justifying a free embellishment since a "theorist" can demonstrate or assert the steps necessary to connect it with an accepted model from a contrapuntal or harmonic theory. The present study demonstrates that the justification relationship is a necessary component for understanding any theory as a strict/free one. By examining Sechter as a strict methodology for Bruckner, we can view the free applications that the latter develops. Bruckner's own theoretical documents-the marginalia in his personal copy of Sechter's Die Grundsätze der musikalischen Komposition and his lecture notes, Vorlesungen über Harmonie und Kontrapunkt an der Universität Wien, taken by Ernst Schwanzara-provide extensions and elaborations to Sechter's theories. In addition, theorists sympathetic to Sechter's approach and Bruckner's personal students provide further material for understanding Bruckner's free application of Sechter's strict harmonic perspective. The study uses my own observations, as well as the extensions indicated above, to generate the transformations used by Bruckner to elaborate the Sechterian harmonic structure.

The lecture recital was given on November 20, 1979. The final movement of Widor's Symphonie Gothique, opus 70, the first movement of Widor's Symphonie Romane, opus 73, and the first movement of Dupré's Symphonie-Passion, opus 23 were performed following a lecture on Gregorian Chant in the organ symphonies of Widor and Dupré. The lecture included a brief historical discussion of the decline of organ literature following the French Classical School, the development of the Modern French Organ School beginning with the establishment of the organ department at the Paris Conservatory, the revival of plainsong and the establishment of the School of Solesmes, and the influence of César Franck and the organ symphony. The main body of the lecture included biographical sketches of Widor and Dupré, a discussion of the general characteristics of their organ symphonies, with the emphasis upon those movements specifically employing the use of Gregorian chant.