李耀安. / 電腦打印本, 複本為複印本. / Thesis (M.A.)--香港中文大學, 1988. / Dian nao da yin ben, fu ben wei fu yin ben. / Includes bibliographical references: leaves 95-107. / Li Yao'an. / Thesis (M.A.)--Xianggang Zhong wen da xue, 1988.

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Thesis (Ph.D.)--University of Nebraska-Lincoln, 2008. / Title from title screen (site viewed Sept. 16, 2008). PDF text: xv, 120 p. : music ; 7 MB. UMI publication number: AAT 3297757. Includes bibliographical references. Also available in microfilm and microfiche formats.

Diss.--Philosophische Fakultät--Hagen--Fernuniversität, 2001. / Bibliogr. p. 205-214.

Thesis (Ph. D.)--Universität Hamburg, 1934. / Vita. Reproduced from type-written copy. "Teildruck der Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Hamburgischen Universität ..." Includes bibliographical references (p. [1]-20, last group of paging).

According to the critical tradition, Gustav Mahler’s music is full of memories, memories portrayed most frequently as being Mahler’s recollections of his own childhood. My study interrogates this trope—that Mahler’s entire oeuvre is an autobiographical puzzle waiting to be solved—using each of his first four symphonies as a case study. To accomplish this, I offer interpretations of each symphony, which rely on an analysis of the musical substance of the piece, and also refer to Mahler’s programs, potential allusions to preexisting material, and critical reception. Chapter 1 lays the theoretical foundation for these analyses, which draws on cultural memory, nostalgia studies, and the hermeneutics of Paul Ricoeur. In Chapter 2, by proposing connections between the Third Symphony and both the antisemetic political climate in Vienna and Mahler’s hopes for a conducting career in the city, I suggest that interpretation can make recourse to the composer’s biography without focusing on his childhood. Moreover, I use Mahler’s biography to suggest new avenues for approaching his music, rather than using his music to shed light on his life. In Chapter 3, I move interpretation away from details of the composer’s biography: I analyze his First Symphony with Freudian repression as a theoretical framework, but I focus on how repression might eludicate both the musical processes in the piece itself and the persistent recourse made to the suppressed program in reception of the piece, rather than attempting to explain Mahler’s own supposed neuroses. After proposing several ways in which music processes might resonate with forgetting in the form of repression, in Chapters 4 and 5, the Second and Fourth Symphonies are discussed in terms of mourning and nostalgia respectively, defined as two specfic types of remembrance. Turning in the final chapter to the later Seventh Symphony, I unwind the implications of the standard image of Mahler as a figure obsessed with the past. Mahler’s music grants us no access to his memories, but it does allow us to remember him. Our memories are all that remains, and the Mahler that we hear has always been merely our own construction. / text

In 1909 the composer Gustav Mahler and the sculptor Auguste Rodin, arguably the greatest composer and the greatest sculptor of the time, met in Paris. Both were transitional figures in their respective fields, representing the end of an era in their creative work. Their respective legacies nevertheless also inaugurated new ideas and inspired younger composers and sculptors. Rodin sculpted two portraits of Mahler, one of which — in pure white marble — is the main focus of the article. The refinement and beauty of this work is different from Rodin's male portraits in that the head is stylised like many of his female portraits, an ambiguity compounded by the fact that Alma Mahler, the composer's wife, wrote in her memoirs that Rodin fell in love with his model during the sittings. An understanding of the marble bust calls for an analysis of the life and work of the composer, fraught with ambiguities - as reflected in that superb portrait.

Olsson, Per-Henning: Petterssons sjunde symfoni. En jämförelse mellan formen i Allan Petterssons Symfoni nr 7 och Gustav Mahlers Symfoni nr 9, sats I. D-uppsats i musikvetenskap, ht 2001. Institutionen för musikvetenskap, Uppsala universitet. Uppsatsen syftar till att belysa Allan Petterssons symfonikomponerande, med avseende på form. Detta görs genom en jämförelse mellan Pettersson och Gustav Mahler. Mahler tas ofta upp i samband med Pettersson, varför jag har funnit det intressant att undersöka relationen mellan tonsättarnas musik. I uppsatsen jämförs formen i Petterssons Symfoni nr 7 med formen i Mahlers Symfoni nr 9, sats I. I uppsatsen tecknas en bakgrund till Pettersson, och de båda verken presenteras översiktligt. I uppsatsens centrala kapitel, "Jämförelse", diskuteras och jämförs verkens form. Både Mahlers Symfoni nr 9, sats I och Petterssons Symfoni nr 7, har en form som är flertydig. Men flertydigheten innebär olika saker: Första satsen av Mahlers Symfoni nr 9 är dubbeltydig, den kan tolkas antingen som en dubbelvariation eller en sonatform, medan det i Petterssons Symfoni nr 7 till och med kan diskuteras vilka symfonins huvudavsnitt är. Om man jämför med formen i tidigare symfonier (av t.ex. Beethoven och Brahms), är ordningen i både Mahlers Symfoni nr 9, sats I, och Petterssons Symfoni nr 7 uppbruten. När Mahler skrev sin nionde symfoni var vanligen första satsen i sonatform, och dubbeltydigheten var kanske för honom ett sätt att skriva någonting nytt. Pettersson har till och med uttryckt tanken om en ny form: "No one in the 50's noticed that I am always breaking up the structures, that I was creating a whole new symphonic form". Det är svårt att enkelt beskriva formen i Petterssons Symfoni nr 7. Formen är upplöst, tonsättaren har "brutit upp strukturerna". Men det går att även i Petterssons Symfoni nr 7 se spår av sonatformen. Avsnitt av Petterssons symfoni fyller samma funktion som delar av sonatformen. Och man kan hitta grundläggande idéer (något som kan kallas "formfunktioner") från sonatformen: en polarisering etableras i början, den intensifieras i mitten, och upplöses i slutet. Hos Mahler finns sonatformen kvar, men satsen kan även tolkas som en dubbelvariation. Hos Pettersson är det inte lika tydligt, men sonatformen finns kvar i form av "formfunktioner", grundläggande idéer.

In this thesis, I analyze the Germanophone reception of Gustav Meyrink's The Golem (Der Golem) between 1916 and 1996 with respect to its treatment as light fiction (Trivialliteratur). I examine a representative selection of literary criticism concerning the dominant themes and narrative structures of the novel. Since The Golem could not be ascribed to a distinct genre or period within the canon, its reception has been characterized by profound dichotomies. Meyrink's novel can be seen as a blank screen upon which critics have projected their respective ideological agendas. By applying new historicist and genre studies, I contextualize the trends across eighty years of critical response to The Golem and the dialectical conflict between 'high' literature and popular fiction. I thus demonstrate that the novel's reception is symptomatic of the debate about art and popular fiction concerning works of early modern surrealism.

Thesis (doctoral)--Rijksuniversteit te Utrecht, 1984. / "Stellingen" ([2] p.) inserted. Includes bibliographical references (p. 197-207).