Beide Veröffentlichungen haben das Wirken des jungen Gustav Mahler zum Gegenstand ihrer Arbeiten gemacht.

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Doctor of Philosophy / Department of Mathematics / Christopher G. Pinner

Thesis (MMus) -- Stellenbosch University, 1997. / AFRIKAANSE OPSOMMING:Hierdie tesif ondersoek die estetiese begrip nai"witeit met spesifieke verwysing na die Wunderllc:-n-t...;•r.••:ngs van Gustav Mahler. Die term nai'witr .L kom dikwels in die vroee literatwJr : '1r Mahler voor, trouens, Mahler het die term ook self gebruik. Vir die hedendaagse waarnemer is dit nie meer onmiddellik duidelik wat met hierdie term bedoel word nie. Die bekende aanwending daarvan op die terrein van die beeldende kuns is in die verband van beperkte waarde. Daarom word daar in hierdie tesis gepoog om die term in sy historiese konteks tot so ver terug as die sewentiende en agtiende eeu te verstaan. Dit blyk dat Schiller die belangrikste bydrae tot die onderwerp gelewer het, trouens, hy het die term tot 'n belangrike estetiese begrip ontwikkel in sy Ober naive und sentimentalische Dichtung. Verder word Des Knaben Wunderhorn, die belangrikste versameling van Duitse volkspoesie, in die konteks van die intellektuele klimaat van die vroee Duitse Romantiek geplaas. Mahler se "ontdekking" van die versameling en sy groot belangstelling in volksmusiek word ook ondr die loep geneem. Die hoofdeel van die tesis ondersoek die vraag in watter mate die begrip, soos deur Schiller ontwikkel, op die musiek en dan spesifiek op Mahler se toonsettings van Wunderhorn-tekste toegepas kan word. Dit word aangetoon dat die begrip in 'n algemene sin aangewend kan word op voorbeelde van natuurklanke, kindermusiek en volksmusiek. Hierdie voorbeelde het alma! 'n sterk invloed op Mahler en word in sy Wunderhorn-styl ge'integreer saam met 'n baie persoonlike benadering tot realisme, insluitende sulke middele soos die nabootsing van nie-musikale klanke, ruimtelike beweging, spraakintonasie en emosies of "innerlike natuur". Mahler se idee van musiek as 'n atbeeld van die natuur of van die struktuur van die wereld as geheel word ook bespreek. Vervolgens word hierdie kenmerke op uitgebreide wyse aan die hand van voorbeelde uit die toonsettings self gei'llustreer. Laastens word al die bevindings tot 'n omvangryke reeks gevolgtrekkings saamgevoeg. / ENGLISH ABSTRACT:This thesis sets out to investigate the aesthetic concept of naivety with specific reference to the Wunderhom Songs of Gustav Mahler. The term naivety is found frequently in the early literature on Mahler, in fact Mahler even used it himself. To the present-day observer, however, it is not immediately obvious what the full meaning of the term is as used by these authors. The well known use of the term in the field of visual art proves to be of only limited help. Therefore the thesb. ...ttempts to trace the historical context of the term as far back as the seventeenth and eighteenth centuries. Schiller is shown to be the most important author on the subject, he in fact develops the term to an aesthetic concept of great significance in his Uber naive und sentimentalische Dichtung. Besides, the thesis examines the context in which Des Knaben Wunderhorn, the most important anthology of German folk poetry, should be seen, placing it in the intellectual climate of early German Romanticism. Mahler's "discovery" of the anthology and his passionate interest in folk music are also investigated. The main body of the thesis concerns itself with the question of the applicability of the concept, as developed by Schiller, to music and specifically to Mahler's composition of Wunderhorn texts, which occupied the composer for the best part of his early career. It is shown that, in a general sense, the concept can be applied to instances of natural sound, children's music and folk music. These instances all have a strong influence on Mahler and are intergrated into his Wunderhorn style together with a very personal kind of realism, including such devices as the imitation of non-musical sounds, spatial movement, speech intonations and emotions or "inner nature". Mahler's idea of music as an image of nature or the structure of the world as a whole is also discussed. Subsequently, these characteristics are illustrated extensively by examples from the songs themselves. Finally, all the findings are drawn together in a lengthy concluding section.

We introduce decompositions determined by Galois field and degree of the space of algebraic numbers modulo torsion and the space of algebraic points on an elliptic curve over a number field. These decompositions are orthogonal with respect to the natural inner product associated to the L² Weil height recently introduced by Allcock and Vaaler in the case of algebraic numbers and the inner product naturally associated to the Néron-Tate canonical height on an elliptic curve. Using these decompositions, we then introduce vector space norms associated to the Mahler measure. For algebraic numbers, we formulate L[superscript p] Lehmer conjectures involving lower bounds on these norms and prove that these new conjectures are equivalent to their classical counterparts, specifically, the classical Lehmer conjecture in the p=1 case and the Schinzel-Zassenhaus conjecture in the p=[infinity] case. / text

In the 1960s, Gustav Mahler's music received renewed interest in America. While certain champions of Mahler from this period, such as Leonard Bernstein and Bruno Walter, have attracted scholarly attention, other conductors have been largely overlooked, including Maurice Abravanel (1903–1993). During Abravanel's directorship of the Utah Symphony (1947–1979), he consistently programmed Mahler's music, making the orchestra the first American orchestra to record all of Mahler's symphonies. Although the concerts contributed meaningfully to Utah's musical life and some of the recordings were well-received by critics in and outside America, they remain marginalized in accounts of Mahler's music in America. To bridge this gap, the dissertation examines primary sources, including concert and record reviews, program notes, correspondence, and interview transcripts to present the history, reception, and influence of Abravanel's Mahler journey with the Utah Symphony. By examining the musical past of a Western city and considering musical and extramusical factors, this dissertation demonstrates that local and technological histories influenced musical decisions, all of which in turn played a role in the growth of the Utah Symphony and planted Mahler's music in the community. The examination reveals that Abravanel's Mahler carried different meanings for different parties. The recordings, with low prices and superior sound, were recommended by critics and welcomed by audiophiles and music lovers. Abravanel's interpretations were commonly criticized as dispassionate, yet were embraced by those who did not prefer Bernstein's more involved, dramatic readings. Through the recordings of Mahler's music, the Utah Symphony gained national and international acclaim. In Salt Lake City, Mahler became a familiar name, and his music remains integral to the city's music culture. As of the completion of this dissertation, the Utah Symphony is nearing the end a two-season (2014–2016) Mahler cycle and has recorded two symphonies by Mahler under music director Thierry Fischer. The McKay Music Library of the University of Utah is digitizing Abravanel's Mahler scores and documenting memories about Abravanel's endeavors with the Austrian composer's music. The concerts, recordings, and efforts to preserve history again bring the collective memories of Abravanel's Mahler back to the community.

<p>As a multinational state with a population that spoke eleven different languages, the Austro-Hungarian Empire was considered an anachronism during the age of heightened nationalism leading up to the First World War. This situation has made the search for a single Austro-Hungarian identity so difficult that many historians have declared it impossible. Yet the Dual Monarchy possessed one potentially unifying cultural aspect that has long been critically neglected: the extensive repertoire of marches and patriotic music performed by the military bands of the Imperial and Royal Austro-Hungarian Army. This Militärmusik actively blended idioms representing the various nationalist musics from around the empire in an attempt to reflect and even celebrate its multinational makeup. Much in the same way that the Army took in recruits from all over the empire, its diverse Militärkapellmeister - many of whom were nationalists themselves - absorbed the local music of their garrison towns and incorporated it into their patriotic compositions. Though it flew in the face of the rampant ethnonationalism of the time, this Austro-Hungarian Militärmusik was an enormous popular success; Eduard Hanslick and Gustav Mahler were drawn to it, Joseph Roth and Stephan Zweig lionized it, and in 1914, hundreds of thousands of young men from every nation of the empire marched headlong to their ultimate deaths on the Eastern Front with the music of an Austro-Hungarian march in their ears. This dissertation explores how military instrumental music reflected a special kind of multinational Austro-Hungarian state identity between 1867 and 1914. In the first part of my dissertation, I examine the complex political backdrop of the era and discuss the role and demographic makeup of the k.u.k. Armee. I then go on to profile the military musicians themselves, describe the idiomatic instrumentation of the military ensembles, and analyze significant surviving works from this repertoire by Julius Fucik and Carl Michel Ziehrer. The results of this study show how Austro-Hungarian Militärmusik synthesized conceptions of nationalism and cosmopolitanism to create a unique musical identity that, to paraphrase Kaiser Franz Joseph, brought together the best elements of each nation for the benefit of all.</p> / Dissertation

Diss.--Berlin--Hochschule der Künste, 1998. / Bibliogr. p. 199-203.

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