Thesis (M. Mus.)--University of Adelaide, 1990. / Includes bibliographical references (leaves 268-277).

Thesis (M.M.)--University of Wisconsin--Madison, 1950. / Typescript. Title from PDF title page (viewed Nov. 10, 2008). Includes bibliographical references (p. 136-139). Online version of the print original.

Thesis (M.M.)--University of Wisconsin--Madison, 1950. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 136-139).

Frederick Delius’ music never appealed to the masses, but rather found ardent support in a devoted few. This trend of select championship was predicted, if not encouraged, by the composer himself: “A few there are who love and understand. They are the ones that count. The rest are not worth bothering about.” [1] Throughout Delius’ labored career, he was fortunate to meet the very champions of his work that would guide him through the most critical points in his life. Few composers have elicited such devotion and sacrifice that Delius garnered with relatively little solicitation. The aim of this paper is to explore the life of Delius with its history of champions and to examine his early work, "Florida Suite for Orchestra," encompassing the germs of potential that his committed followers would come to recognize at the height of his powers during the first decade of the twentieth century. [1] Fenby, Delius as I Knew Him, 189.

Thesis (M.Mus.) - University of Adelaide, Department of Music, 1979.

Thesis (Ph.D.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 157-164).

In the western classical tradition, the violoncello has developed a reputation for its soulful, vocal qualities. Because of this distinction, many composers have written elegiac works for the cello. This document comprises studies of three twentieth-century British elegies for cello and piano, each explored against a backdrop of poetic, societal and musical influences. The results reveal several common tropes of mourning, both musical and extra-musical, which can be applied to further studies of musical works.

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Founded in 1967, the Amsterdam-based improvising collective the Instant Composers Pool is one of the longest consistently performing groups in improvised music. This thesis forms an ethnography and musicological study of the ICP Orchestra, which originated when the "pool" developed a more coherent line-up around 1980. With a background in experimental music as well as free jazz, their performance practice differs in many respects from the practices of American forms of jazz. Whereas most accounts of improvisation emphasise orality and creative interaction in opposition to the performance of composed music, 'instant composition' defines improvisation precisely in terms of compositional thinking. Moreover, founding member and orchestra leader Misha Mengelberg composed a very diverse repertoire for the group which draws on styles from Duke Ellington to John Cage and uses various forms of compositional and notational techniques to explore the different improvisatory possibilities that they afford, thus blurring the distinction between improvisation and composition both in name and in practice. Apart from a detailed historical and ethnographic description of a group that is central to a genre that has been underrepresented in music-historical research, this thesis investigates the repertoire of the ICP and its use as an opportunity to reconsider the relation between musical text and performance. Drawing on my observations and interviews with the musicians, and connecting these to theories of material culture and science and technology studies, it develops a concept of compositions as animated and animating objects in performance, tools and materials that participate in the creative interactive process of improvised performance rather than textual representations of 'the music itself'. I substantiate this theory with detailed descriptions of ICP performances recorded during fieldwork. This contributes to a rethinking of musical notation and simultaneously brings new insights into improvisation as a creative practice.