Inaug.--diss.--Cologne. / Lebenslauf. Includes bibliographical references (p. 61-75) and index.

Thesis (Ph. D.)--University of Michigan, 1968. / Vol. 1 contains text; v. 2, appendices; v. 3, an edition of Gossec's Symphony, op. 8, no. 2. Includes bibliographical references (v. 1, leaves 556-593).

Thesis (D.M.A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 110-111).

Thesis (M.M.)--University of Wisconsin--Madison, 1940. / Typescript. Handwritten musical examples on unnumbered leaves interfiled with the text. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (2 leaves at end).

Diss.--Philosophie--Ann Arbor, Mich., 1966. / Contient des exemples musicaux p. 168-281. Bibliogr. p. 284-285.

Diss.--Bad Godesberg, 1994. / Contient le cat. thématique des symphonies p. 201-231. Bibliogr. p. 232-237.

Thesis (Ph.D.)--Boston University

The purpose of this study is to demonstrate that Symphony No. 1 in F major, Op. 17, by Zdeněk Fibich embodies musical style features associated with both Czech and German composers of the nineteenth century. The identification of these style features is accomplished by comparing and contrasting Fibich's Symphony No. 1 in F major with works by other prominent Czech and German composers whose music was performed and well-known at the time. Particular emphasis is placed on the aural similarities between Fibich's first symphony and that of other composers' works in an effort to show Fibich's unique hybrid compositional style. A second area of focus is the rise in European nationalism during the latter half of the nineteenth century. Due to Fibich's mixed Czech and German heritage, nationalism is explored in order to ascertain what effect, if any, nationalistic bias might have had on the overall reception of Fibich's music and the composer's ability to have his music performed during his lifetime.

Symphony for Band is a composition in three movements following a fast, slow, fast tempo scheme; the work is approximately sixteen minutes in duration. The standard band instrumentation is augmented by the addition of C trumpets, flugelhorns, an English horn, and a piano. The timbre of these instruments is explored both in a soloistic manner and in varying instrumental sombinations.

No description available.