Diss. : Philosophische Fakultät : München : 1984. - Bibliogr. p. 295-309. -

Diss.--Literaturwissenschaft--Freie Universität--Berlin, 1997. / Bibliogr. p. 147-156.

Dissertation Ph. D.--German literature--University of Wisconsin-Madison, 1984. / Bibliogr. p. 185-206.

Texte remanié de Ph. D. thesis--Liverpool. / Bibliogr. p. 171-177. Index.

This thesis explores text-music relationships in Dallapiccola’s Goethe Lieder. Though the cycle is based on Goethe’s West-östlicher divan, it was Mann’s novel Joseph und seine Brüder that spurred its inception. This seven-song cycle revolves around Suleika, a character from the biblical love story of Joseph and Potiphar’s Wife. Dallapiccola set this text upon reading Mann’s novel, which stems from the same story; however, Mann portrayed the character of Suleika as a sympathetic lover rather than the traditional evil seductress. By conducting a thorough pitch structure analysis of each song, focusing in particular on motives, symmetry and aggregates, this thesis examines text-music relationships to demonstrate how Mann’s Suleika is musically represented. This thesis illustrates that Dallapiccola’s setting is a musical composite of both Goethe and Mann’s Suleikas and thus sheds new analytical and hermeneutic light on an important work by one of the twentieth-century’s most prominent serial composers.

Goethe' s Phenomenology - Abstract The aim of this thesis was to explain the philosophical foundations and horizons of the work of Johann Wolfgang Goethe, with an emphasis on his concept of phenomenon and appearing, in which he is presented as a significant contributor to the reflection of the category of mediation in German late Enlightenment and idealistic discourse. The work showed how Goethe's (including poetic) works show some theoretically based or systematizable aspects which genealogy, reception and applicability in general the author attempts to interpret. He also interprets the philosophemes connected with Goethe's work: he puts Goethe in the contexts of the German and European thinking of the age of the Enlightenment, of its rationalist bases and of its rethinking of the nineteenth- century concepts of thought. The work shows the breadth and complexity of Goethe's spiritual resources and their creative appropriation by him, as well as the far-reaching influence of Goethe on the German philosophy already in his time (Hegel, Schelling, Schopenhauer, etc.). He tries to overcome the stereotypes or shortcomings he finds in several previous interpretations, discussing first the philosophical literature about Goethe. In systematic and historical contexts, he represents Goethe confrontations with the...

The connection between text, music, and performance in the lieder of the late eighteenth and early nineteenth centuries is an integral aspect to fully comprehending the style and performance of the genre. It is also essential in order to understand the full development of the lied in its totality. The era represented a transitional period in musical development, influenced by Enlightenment values of elegance, good taste, simplicity, and naturalness which sought to eradicate the overly decorative “excesses” of the high-Baroque. In this study, emphasis is placed upon the unique development of the lied in the northern German regions by the composers Johann Friedrich Reichardt and Carl Friedrich Zelter and their musical settings of the lyric poetry of Johann Wolfgang von Goethe. The study also addresses the overall development of the genre as it progressed from the Baroque through Classicism/Neo-Classicism, Sturm und Drang, and into Romanticism exploring the musical settings and performance possibilities both then and now in the context of the various treatises and correspondence between the composers and poet. It seeks to effectively address the notion that these early songs were composed and performed by those versed in the ideal of music being an improvisatory/dramatic vehicle for expressing emotion and textual meaning. In opera, and to a lesser extent other vocal idioms, musico-dramatic excesses occurred in the late Baroque and the cult of the singer reigned. However, the reforms which led to the new aesthetic of naturalness did not suddenly end this improvisatory vocal performance practice. The musical complexity of the lied was gaining in prominence but not yet to the detriment of the priority of the poetic text and its effective rendering.

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