Thesis (D.M.A.)--University of Miami, 2006. / (UnM)AAI3215227. Adviser: Gary Lindsay. Source: Dissertation Abstracts International, Volume: 67-04, Section: A, page: 1153.

Thesis (D.M.A.)--The Ohio State University, 2006. / (UMI)AAI3226474. Adviser: Susan Powell. Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2378.

Thesis--Wisconsin. / Vita. Includes bibliographical references (leaves 1679-1687).

Thesis (M.A.)--Rowan University, 2008. / Typescript. Includes bibliographical references.

Thesis (M.A.)--Rowan University, 2009. / Typescript. Includes bibliographical references.

Biography.

This thesis examines the context in which the Soviet composer Dmitri Dmitrievich Shostakovich turned to the "Jewish" folk idiom in his Fourth String Quartet, op. 83 (1949). The Fourth String Quartet falls into the second of three "Jewish" periods of composition, a period that aligns with the continual denunciation of Shostakovich as a "formalist" and "anti-People" composer, as well as with Stalin's anti-Semitic campaign. Because Shostakovich was not Jewish, these works have been read as either an attempt to rehabilitate himself following the Resolution on Music or as a method of identification with an oppressed minority. This thesis examines Shostakovich's professional and private life from 1948 to 1953. It outlines the rise of anti-Semitism in the Soviet Union during this same period and analyses elements of "Jewish" musical language in the Fourth String Quartet. Ultimately, this thesis discusses how Shostakovich both followed Party demands and found a personal response to persecution.

Abstract not available.

Abstract not available.

Clara Wieck (1819-96) was a particularly successful nineteenth-century musician. Unlike many of her female contemporaries, and contrary to her social conditioning, she occupied space within the male dominated public sphere of music making, as both a performer and composer. Her participation in dichotomous social realms was unique, and affected the normalcy of her personal life and relationships. Accordingly, during their courtship, Clara Wieck and Robert Schumann (1810-56) were forced to communicate their love through a means that departed from the nineteenth-century norm---music. This thesis argues that many of their early piano works, spanning the decade of the 1830s, were written with some intention of correspondence or message to the other party. Three main conceptual frameworks are employed for musical analysis: firstly, the characteristics of sentiment, social context, mood, and gender as betrayed by genre; secondly, the overt relevance of musical quotation; and finally, the perceived relevance of titles and dedications. Wieck and Schumann's music and courtship is explored herein to determine the extra-musical communicative potential of music for solo piano.