Three Attempts at Time Travel is a piece for wind ensemble that is approximately ten minutes in length. It consists of a brief introduction and three continuous movements based on the same starting material. It is semi-programmatic, but it is not an attempt to depict a specific narrative. Rather, it portrays a scenario involving time travel. The concept of the piece begins with a person who uses a time machine to travel back to a certain point in time to change the result of an event in the their own life. During the piece, the person goes back to the same starting point three times with each “restart” resulting in a different outcome. On the final restart, a positive resolution is reached, but it is ultimately a conflicted ending because it is not the ending that the time traveler was aiming for. At the end of the introduction and each of the first two movements, a “time machine” motive consisting of: a Mahler hammer, a concert bass drum, a drum set, a thunder sheet, a suspended cymbal and a triangle occurs to signal the return to the original point in time.

There has been relatively little scholarship to date on Mahler’s Kindertotenlieder. The writings about this song cycle that do exist primarily focus on the disparate nature of the poems and justify Kindertotenlieder as a cycle by highlighting various musical connections between the songs, such as keys and motivic continuity. Mahler, however, has unified the cycle in a much more complex and sophisticated way. His familiarity with Wagner’s music and methods, and his mastery of the human voice and orchestral voices allowed him to weave a dramatic grief-laden narrative.

Scholarship on Gustav Mahler’s (1860–1911) late works is often overshadowed by the events of 1907: the death of his daughter, his resignation from the Vienna Court Opera, and the diagnosis of his heart condition. The subjective juxtaposition of this biographical detail on his last works—Das Lied von der Erde (1908), the Ninth Symphony (1909), and the Tenth Symphony (1910, unfinished)—has provoked the application of themes of death, transcendence, and farewell as extra-musical elements to his music. While scholars such as Vera Micznik, Henry-Louis de La Grange, and Stephen Hefling have called the acceptance of this program into question, there has yet to be a more objective analysis of Mahler’s last works via the lens of late style theory. This thesis explores two of Mahler’s last works, Das Lied and the Ninth, through the application of Edward Said’s theory of late style. Rather than approaching death with harmony, resolution, and transfiguration, the late artist in Said’s theory evokes “intransigence, difficulty, and unresolved contradiction”. Instead of a psychological or biographical interpretation of late style, Said’s theory focuses on irreconcilable characteristics that set the artist apart from the age in an anachronistic way. Following his more objective approach of interpreting late style, this thesis relies on the musical elements that characterize Mahler’s late style, categorized as anachronism, disintegration, and evasion of closure. Through the discourse of Said’s late style theory, this thesis reveals alternative means of interpreting Mahler’s late style that avoids the myth of the artist transfigured by death.

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The bulk of scholarly research and discussion of Mahler's Kindertotenlieder deals with musical concerns and analyses. This study explores the significance of Mahler's selection and use of the poetry of Friedrich Rückert and, in particular, the personal significance of the textual treatment to Mahler. A comparison of the original Rückert text with Mahler's and his textual alterations, as well as a literal translation of the text, is included. The results revealed through the process stated above provides the vocal performer of Gustav Mahler's Kindertotenlieder with a study and performance guide for the artist intent on a more complete textual understanding and delivery.

The value of the type of musical analysis presented in this study is based on the assumption that the more thorough an understanding the performer has of his repertoire, of both musical and non-musical elements, the more authentic the performance will be. A knowledge of the wishes of the composer and of the historical period, added to an analysis of poetry, melodic contour, harmony, rhythm, accompaniment, and texture, provides the performer with the necessary background to form his interpretation of a song. The interpretation of "Wo die schonen Trompeten blasen" depends upon an accurate execution of the various rhythmic patterns in both the vocal line and the accompaniment. The sometimes opposing rhythms (two against three) between the voice and accompaniment should be carefully observed. Another important interpretive aspect is the portrayal of both characters in the poem (the soldier and his sweetheart). Character differentiation is primarily achieved through the singer's vocal color, intensity, and general deportment. The singer must thoroughly understand the poetry and have formed a definite personality for each character. In "Das irdische Leben" the individuality of each character in the poem is even more essential. The three characters are musically differentiated by the three individual patterns of vocal melody and rhythm. These three types of vocal melodies help determine the vocal color for each character. The chromatic and ever-moving accompaniment helps build the tension of this macabre tale, but the most outstanding feature of this song must be the vocal color and characterization supplied by the singer. The light, yet ironic, humor is the most important element of "Des Antonius von Padua Fischpredigt." The tonal painting of the accompaniment creates the proper atmosphere for this fish tale. To project the poetry's humorous descriptions of the various fishes, the singer must pay special attention to vocal inflection and syllabic stress of the text. Careful attention should be given to the rise and fall of dynamics, which help depict an image of water movement. These three early songs of Mahler were chosen to provide the listener with a variety of mood, style, key, and musical harmony and rhythm. If the performers (both singer and accompanist) study the various musical and non-musical characteristics of the songs, the result should be a more authentic and meaningful presentation.

Mahler's use of recurring thematic and motivic elements is the topic under consideration in this paper. The subject was decided upon after a preliminary investigation into possible instances of the use of leitmotiv in Mahler's Symphony JI led to the conclusion that occurrences of that device are, at best, only matters of supposition. The study did reveal, however, a considerable number of themes and motives in Symphony 1I that could be traced directly to Symphony I. A logical question followed: Were there similar recurrences in any of the other symphonies? Further research indicated that such instances of cyclicism (a more concise synonym for "recurring themes and motives") were not only common, but were an important element in Mahler's style.

Made available in DSpace on 2016-03-15T19:45:29Z (GMT). No. of bitstreams: 1 Ana Claudia F Queiroz Evaristo.pdf: 2200391 bytes, checksum: 584b9ae11154b6dc15bc09f47e5182e6 (MD5) Previous issue date: 2012-01-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The novel Somewhere in Time (1975), by the American author Richard Matheson, presents time as the most relevant element in the elaboration of this novel which ranges between Fantasy and Science Fiction. Time appears in the novel through many perspectives not only as part of the narrative structure, as a character, but also connected to a musical element, more specifically to Gustav Mahler's symphonies. The main focus of this analysis is to reflect about Time and character in the narrative once time is the real antagonist in Matheson s story. In his battle against Time, the character Collier has no control over it, neither in the present time(1971) nor in the past time (1896), considering that he travels back to the past in search of a lost love. The time travel in the novel indicates a reflection about time irreversibility through an immersion into an imaginative world, exposing the intriguing feelings that strike the different historical subjects. / O romance Somewhere in Time (1975), do autor norte-americano Richard Matheson, apresenta o tempo como elemento de maior relevância no interior da construção narrativa, que transita entres os gêneros Fantasy e Ficção Científica. Tal elemento surge na obra por meio de várias perspectivas: como personagem, como parte da estrutura narrativa e, também, relacionado à questão musical, mais especificamente, às sinfonias do compositor Gustav Mahler. O enfoque principal deste trabalho é o estudo das categorias tempo e personagem na narrativa, sendo que o tempo é percebido como verdadeiro antagonista do herói, Richard Collier. Em sua batalha com tempo, a personagem Collier não tem controle sobre o tempo real, aquele no qual está imerso em 1971, nem do tempo passado em 1896, revestido pela aparência de presente. A viagem no tempo, proposta no romance, anuncia uma reflexão a respeito da irreversibilidade do tempo por meio de uma imersão em um mundo imaginativo, povoado pelos medos inerentes aos diferentes sujeitos históricos.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-05-15T12:12:21Z No. of bitstreams: 1 annacostapintoribeiro.pdf: 919872 bytes, checksum: e3e89afcb365c0a93060ca3b443fbe54 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-22T15:19:51Z (GMT) No. of bitstreams: 1 annacostapintoribeiro.pdf: 919872 bytes, checksum: e3e89afcb365c0a93060ca3b443fbe54 (MD5) / Made available in DSpace on 2018-05-22T15:19:51Z (GMT). No. of bitstreams: 1 annacostapintoribeiro.pdf: 919872 bytes, checksum: e3e89afcb365c0a93060ca3b443fbe54 (MD5) Previous issue date: 2018-03-28 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / Entre os principais autores que investigaram o desenvolvimento psíquico precoce,partindo de um referencial psicanalítico,e formularam hipóteses para tentar esclarecer quais são os fatores relacionados ao surgimento de patologias mentais,podemos citar a pediatra e psiquiatra húngara Margaret Mahler (1897-1985). Suaprincipal contribuição para a psicanálise infantil foi a inovadora técnica de atendimento à criança pequena e sua extensa teoria sobre o desenvolvimento psíquico precoce, conhecida como a teoria da simbiose e separação-individuação. Mahler descreveu patologias decorrentes das vivências não satisfatórias nas fases iniciais do desenvolvimento, como a psicose autística e a psicose simbiótica,e caracterizou momentos de perturbaçõesnaturais e inerentes ao desenvolvimento emocional precoce, que podem,equivocadamente,ser interpretados como patologias. Apesar da grande contribuição que ela trouxe para a compreensão do desenvolvimento mental infantil, pouca atenção é dada ao seu pensamento teórico e clínico. O presente trabalho consiste em uma investigação teórico-conceitual, que tem como objetivo analisar os conceitos de “desenvolvimento normal”, “crises inerentes ao desenvolvimento” e “psicoses” na teoria de Margaret Mahler. Como suporte teórico, foram usados os três livros publicados pela autora e colaboradores: The PsychologicalBirthoftheHumanInfant(1975), InfantilePsychosisandEarlyContributions(1979), OnHumanSymbiosisandthe Vicissitudes ofIndividuation(1968), bem como suas publicações em forma de artigos e suas comunicações orais. / Among the main authors who investigated the early mental development from a psychoanalytic viewpoint, and elaborated hypotheses trying to clarify which factors are related to the emergence of mental illnesses, the Hungarian pediatrician and psychiatrist Margaret Mahler (1897-1985) should be mentioned. Her main contribution to child psychoanalysis was her innovative technique for the treatmente of young children and her extensive theory of early mental development, known as the symbiosis and separation-individuation theory. Mahler described pathologies resulting from unsatisfactory experiences in the early stages of development, such as autistic and symbiotic psychosis. She also described moments of disturbance that are natural and intrinsic to early emotional development and may incorrectly be perceived as mental pathologies. Despite her great contribution to the understanding of child mental development, little attention has been given to her theoretical and clinical thinking. This dissertation presents a theoretical-conceptual research, aiming to analyze the concepts of “normal development”, “crisis intrinsic to development” and “psychosis” in Margaret Mahler's theory. Content from the three books published by the author and contributors were used as theoretical support: The Psychological Birth of the Human Infant (1975), Infantile Psychosis and Early Contributions (1979), On Human Symbiosis and the Vicissitudes of Individuation (1968), as well as her published articles and lectures.