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Symphony no. 2 is a three-movement work for band. Each movement is dedicated to a pivotal figure in my development as a composer. The first movement is a march/scherzo based on octatonic collections, the second movement is a passacaglia modeled after the style of Philip Glass, and the third movement is a theme and variations written in my own personal style. Additionally, all three movements contain references to the hymn "Blessed Assurance" in gradually more obvious forms as the work progresses, although only the third movement includes an outright statement of the tune. This treatise consists of the full score for the symphony, followed by a discussion of the programmatic, formal, harmonic, and motivic elements of the music. / text

The tonal organization of the first-movement development sections of ten Haydn symphonies (nos. 1, 4, 6, 10, 13, 15, 19, 24, 31 and 72), all in D major composed between 1758 and 1765, is directly linked to eighteenth-century theories of modulation. The recent theoretical or musicological literature, with the exception of H. C. Robbins Landon's Haydn: Chronical and Works (1976--1980), has concentrated on Haydn's later high classical style generally ignoring these earlier works composed during his largely self-didactic, most formative years. After evaluating the analytical procedures established by Webster (1991), Wheelock (1992), Sisman (1993) and Haimo (1995) in chapter one, chapter two reviews tonal theories of some eighteenth-century writers. Chapter three presents analytical observations on the Morzin Symphonies (nos. 1, 15, 4, 10). Chapter four extends the discussion of chapter two and focuses on theoretical concepts that determine rank ordering of scale-steps in relation to the tonic. Chapter five focuses on tonal procedures employed in the developments of early Esterhazy symphonies (nos. 6, 13, 72, 24, 31) all of which feature cadentially-confirmed tonicizations of scale-step vi paired with recapitulatory from the main theme. (Abstract shortened by UMI.)

Please read the abstract in the section 00front of this document / Thesis (DMus (Musicology))--University of Pretoria, 2007. / Music / unrestricted

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This study is concerned with the examination of choral symphonies by major nineteenth-century composers. Its purpose is to delineate the common characteristics which these works have. Emphasis is given to the investigation of the choral elements in the symphonies. Detailed musicological studies of nineteenth-century music are minimal; there has. been a particular lack of interest in nineteenth-century works for chorus. Therefore, the principal sources of data for this study were the full scores of the following nine symphonies: Beethoven's Symphony No. 9, Berlioz' Romeo and Juliet and the Funeral and Triumphal Symphony, Mendelssohn's Lobgesang, Liszt's Faust Symphony and Dante Syrmphony, and Mahler's Symphonies Nos. 2., 3, and 8. Other important sources included major biographies of the composers of the symphonies listed. chapter is devoted to each of these composers, subdivided as follows: a general survey of the composer's other works for chorus and/or orchestra; the historical facts connected with the composition and first performance of the individual symphonies; analysis; and conclusions.

The analysis of Arne's six keyboard concertos uses the 1981 Oxford University Press edition of the musical scores. This edition relies totally a set of separate printed on parts that was published by Harrison & Company of London in 1793, and is the earliest known extant material for the concertos; the autograph MSS scores of Arne's concertos are not extant. The analysis first deals with Arne's general structural process, then examines the formal structure of the works in more detail, with particular attention given to the utilization of ritornello format and the influence from the Torelli-Vivaldi tradition. A discussion of the concertos' residual Baroque characteristics as well as several galant traits is included. Considerable attention is given to Arne's excellence in melodic writing, as well as to his fondness for the interval of an octave and to a particular rhythmic kernel. Also included is an analysis of a discarded movement from Concerto No. 1.The analysis of Arne's four symphonies uses the 1973 Oxford University Press edition of the musical scores. This edition relies totally on the set of printed parts from the 1767 John Johnston [London] edition, and is the earliest known extant material for the symphonies; the autograph MSS scores of Arne's symphonies are likewise lost or destroyed. As with the concertos, the analysis of the symphonies first looks at Arne's general structural procedures, then treats individual musical forms, with significant attention given to sonata form. An examination of Arne's remnant Baroque characteristics is included. As with the concertos, a substantial portion of the analysis is given to Arne's melodic writing.A short biography of Arne is included. This chapter discusses other instrumental works of Arne, as well as his more important vocal works. / School of Music

Muzio Clementi's symphonies were first performed in London between 1786 and 1796. After an extended hiatus from 1796 to 1813, his symphonic works appeared on programs again from 1813 to 1824. Clementi's career as a symphonist corresponds closely with trends in London's concert life. The reception of Clementi's symphonies during his lifetime has frequently been misinterpreted by scholars who oversimplify the use of "science" in musical discourse of the day and fail to consider the positive connotations of this adjective, so frequently applied to Clementi. Musical discourse at the time addressed the science and art of music emphasizing a composition, or its composer's, science, harmony, effects, genius, and the audience's response. Though an unstated ideal, reviews evince a preference for balancing scientific and artistic display. Reviews of Clementi's symphonies suggest he initially struggled to balance the technical and artistic qualities of his compositions but succeeded, according to reviews, in finally doing so in 1796. After his early efforts, Clementi was consistently praised as worthy to stand among the current and most prestigious composers of the continent: Haydn and Mozart initially, and Beethoven and Rossini later.

Gustav Mahler's Seventh Symphony seems to belie traditional notions of symphonic unity in that it progresses from E minor in the first movement to C major in the Finale. The repertoire of eighteenth and nineteenth century composers such as Haydn, Beethoven, and Brahms indicates that tonal holism is a significant factor for the symphonic genre. In order to reconcile Mahler's adventurous key scheme, this dissertation explores a multidimensional harmonic model that expands upon other concepts like Robert Bailey's double-tonic complex and transformation theory. A multidimensional musical object is a nexus of several interconnected chords that occupy the same functional space (tonic, dominant, or subdominant) and can be integrated into a Schenkerian reading. Mahler's Seventh is governed by a three-dimensional tonic object that encompasses the major and minor versions of C, E, and A-flat and the augmented triad that is formed between them. The nature of this multidimensional harmony allows unusual formal procedures to unfold, most notably in the first movement's sonata form. To navigate this particular sonata design, I have incorporated my own analytical terminology, the identity narrative, to track the background harmonic events. The location of these events (identity schism, identity crisis, and identity reclamation) is critical to the entire structure of the Seventh.

Stravinsky seldom explained the intended theme of his works; however, he chose to do so with his Symphony in Three Movements. Stravinsky describes the first movement as a reflection on war films documenting scorched-earth tactics in China. He also states that the third movement is a reflection on the newsreels of goose-stepping soldiers, depicting the plot of the war in its entirety. In his descriptions, Stravinsky left out the second movement of the work. However, the movement already had a life of its own. The second movement expands a theme Stravinsky originally wrote for the movie The Song of Bernadette. The author, Franz Werfel, asked Stravinsky to compose music for the film when the two discussed the work and its central ideas. Although it did not appear in the film, Stravinsky recycled the music for the Symphony in Three Movements. In my opinion, the ideas of hope depicted in Werfel's novel are used by Stravinsky to evoke ideas of the importance of faith in the fallen world. My analysis aims to show the musical means used by Stravinsky to allow the central ideas from The Song of Bernadette to pervade the entirety of the Symphony in Three Movements.