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The Adagio of Mahler's Ninth Symphony: A Schenkerian Analysis and Examination of the Farewell StoryPatterson, Jason, 1982- 05 1900 (has links)
Mahler's Ninth Symphony, since its premier in 1912, has sparked much debate about its programmatic meaning. This thesis provides an in-depth analysis of the Adagio and an examination of the controversy of the farewell story. In the process of the analysis I have compared my findings to some of the important authors in Mahler's field such as Vera Micznik, Henry-Louis de La Grange, and Christopher Orlo Lewis. Some of the conclusions are that a closer investigation of the music is necessary and that the programmatic reading of the farewell story can be appropriate.
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The Cycle of Life SymphonyDean, Lynn C. 05 1900 (has links)
This symphony is a representation of the composer's philosophy of life, which includes a belief in a pre-existent life (Beginnings), a mortal life (Searchings and Wanderings), and a life after death (Return Home). Three out of four of the cyclic elements in the Symphony are symbolic. Theme one represents the influence for good which emanates from a living God; motive one represents the influence for evil, or the Devil; motive two represents the influence of Christ. All three of these influences were present in the pre-existence, they are present in earth life and in the life after death, where good will ultimately triumph over evil. Motive three is found in both first and third movements, but has no symbolic meaning.
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Challenges of Developing Audiences for Symphony Orchestras in Twenty-First CenturyLin, Pei Yi 02 September 2008 (has links)
No description available.
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Symphony Number 1. : First MovementHaney, Gerald Ray 06 1900 (has links)
This thesis consists of the first movement and discussion of Symphony Number I, an original composition by Gerald Ray Haney.
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Transit: FluxThomas, Paul 23 August 2005 (has links)
No description available.
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What I wanna be in hereShin, Wonhee 14 July 2005 (has links)
No description available.
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The future of the symphony orchestra based upon its historical development /Winteregg, Steven January 1987 (has links)
No description available.
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Symphony #1Gower, Albert, 1935- 08 1900 (has links)
This symphony was composed for the purpose of communicating with a contemporary audience and not to please some unknown colleague or future generation. Therefore, experimentation with novel media or systems was rejected in favor of a more conventional approach.
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First-movement form in selected early symphonies of Mannheim and ViennaCurtis, Marsha Lynn January 2010 (has links)
Typescript (photocopy). / Digitized by Kansas Correctional Industries
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AN INTRICATE SIMPLICITY: CONTRARIES AS AN EVOCATION OF THE SUBLIME IN MOZART’S JUPITER SYMPHONY, K. 551Wuchner, Emily Michelle 01 May 2011 (has links)
This thesis explores the eighteenth-century aesthetic of the sublime in application to Mozart’s Symphony No. 41 Jupiter, K. 551. Using Immanuel Kant’s definition of the mathematical sublime and Johan Georg Sulzer’s idea of the sublime, I argue that Mozart achieves this aesthetic through the synthesis of stylistic opposites: the learned and the galant. The culmination of such is best articulated in the fugue found in the Coda of the fourth movement. In this segment, Mozart combines five galant motives into a learned fugue; this intricate combination of stylistic opposites creates an elevated effect, one in keeping with eighteenth-century philosophies of the sublime. Drawing from my own experiences, I further argue for the subjectivity of the sublime and discuss its occurrence both in composition and as emotion.
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