Thesis (D.Mus. Arts)--University of Washington, 1985. / Vita. Bibliography: leaf [127].

Treatise (D.M.A.) Florida State University, 2005. / Advisor: Douglas Fisher, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-21-07). Document formatted into pages; contains 33 pages. Includes biographical sketch. Includes bibliographical references.

Diss.--Frankfurt am Main, 1998. / Bibliogr. p. 203-208.

The logarithmic Mahler measure of an n-variable Laurent polynomial, P(x1,...,xn) is defined by [expression]. Using experimental methods, David Boyd conjectured a large number of explicit relations between Mahler measures of polynomials and special values of different types of L-series. This thesis contains four papers which either prove or attempt to prove conjectures due to Boyd. The introductory chapter contains an overview of the contents of each manuscript. / Science, Faculty of / Mathematics, Department of / Graduate

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.

When the tubist is first introduced to the bass tuba, Mahler's songs can be used as effective solo material. Through transcription, practice, and performance of art songs, novice bass tubists focus primarily on fundamental musical components such as tone quality, intonation, breathing, and musicianship. By identifying deficiencies in the current solo repertoire as related to the early stages of development on the bass tuba, I intend to address the need for more solo works through the transcription and performance of Mahler's Lieder und Gesänge aus der Jugendzeit.

System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 158-170).

Version abrégée: Th. doct.--Université de Paris-Sorbonne (Paris IV), 2003. / Résumé en allemand et en anglais. Bibliogr. p. [451]-485. Index.

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.