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An in-depth study of Gustav Mahler's preoccupation with death was the foundational purpose for this dissertation. The song cycle Kinder-Totenlieder was the main composition examined, however, other works were mentioned to provide further proof of his obsession.The content of Chapter One presents Mahler's biographical data. Death is traced through his family history with the demise of brothers and sisters and his own beloved daughter, Putzi. An analysis by Sigmund Freud discusses his relationship with his wife, Alma, and his mother. Another area of interest includes his feelings towards his siblings, especially his brother, Otto, who committed suicide.Chapter Two concentrates on poetry, musical form and orchestration in regards to the Kinder-Totenlieder,. Specific musical examples are given which symbolize the underlying theme of death. Theories as to why the song cycle was written and whether it was a prophecy concerning his daughter's death are stated. A comparison of Rueckert's original poems and Mahler's textual changes in these poems are studied.Chapter Three investigates Mahler's other works, both vocal and symphonic, involving the theme of death. In consideration of the symphonic works, poetry, program notes, and motives taken from vocal works are viewed. Attention is given to the poetry and orchestration in the vocal works. His comments scribbled on the manuscript of his Svnphony No. 10 highlight his fear of death. Lastly, comments concerning his own funeral arrangements and burial bring into focus the despair over his own inevitable death.ConclusionMahler's preoccupation with death is reflected in almost all of his compositions. The tension felt within the music represents his struggle between life and death. Ultimately, he knew that death would win, but his compositions would hopefully bring him to the immortality he sought. / School of Music

Zugl.: Strasbourg, Universit́e, Diss., 2003.

This work is focused on a prominent youth international orchestra - Gustav Mahler Jugendorchester ( GMJO).It offers a view on its foundation, history, his initiator Claudio Abbado and it discusses Gustav Mahler himself. The author shares his personal experiences with participating in this orchestra and explains some of the close initiatives and orchestras - Nestlé and Salzburg Festival Young Conductors Award, Mahler Chamber Orchestra and Gustav Mahler Academy in Bolzano.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Exatas, Departamento de Matemática, 2017. / Submitted by Raiane Silva (raianesilva@bce.unb.br) on 2017-07-20T16:56:25Z No. of bitstreams: 1 2017_AnnaCarolinaMartinsMachadoLafeta.pdf: 881855 bytes, checksum: f258f3de77425d2f9b49c472583a768b (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-09-12T18:57:11Z (GMT) No. of bitstreams: 1 2017_AnnaCarolinaMartinsMachadoLafeta.pdf: 881855 bytes, checksum: f258f3de77425d2f9b49c472583a768b (MD5) / Made available in DSpace on 2017-09-12T18:57:11Z (GMT). No. of bitstreams: 1 2017_AnnaCarolinaMartinsMachadoLafeta.pdf: 881855 bytes, checksum: f258f3de77425d2f9b49c472583a768b (MD5) Previous issue date: 2017-09-12 / Seja f uma função inteira e transcendente. Denotamos por Sf o conjunto de todos os α ∈ ´Q tais que f(α) ∈ ´Q (o conjunto excepcional de f). Nessa dissertação, mostraremos quais subconjuntos de ´Q podem ser o conjunto excepcional de alguma função inteira e transcendente. Além disso, trataremos de dois problemas de Mahler relacionados a propriedades de funções inteiras e transcendentes. Mostraremos que existem funções inteiras e transcendentes que levam um subconjunto dos números de Liouville nele mesmo e daremos uma resposta positiva ao Problema B de Mahler: Problema B: Existe uma função inteira e transcendente f(z) = Σn =0 ∞ a nz n com coeficientes racionais tal que f( ´Q ) ⊆ ´Q e f−1( ´Q ) ⊆ ´Q ? . / Let f be an entire transcendental function. We denote by Sf the set of all α ∈ ´Q such that f(α) ∈ ´Q (exceptional set of f). Throughout this dissertation, we will show which subsets of ´Q can be the exceptional set of some entire transcendental function. Moreover, we will deal with two of Mahler’s problems related to properties of entire transcendental functions. We will show that there are entire transcendental functions that map a subset of Liouville numbers in itself and we will give a positive answer for Mahler’s Problem B: Problem B: Is there an entire transcendental function f(z) = Σn =0 ∞ a nz n with rational coefficients such that que f( ´Q ) ⊆ ´Q e f−1( ´Q ) ⊆ ´Q ? .

abstract: The symphonies of Gustav Mahler (1860 - 1911) constitute an essential element of the orchestral repertory; they are therefore essential for young conductors to understand and for instrumentalists to play. Yet they are impractical in many school situations because they call for large orchestras. One solution to this problem is for the conductor to study the original, full version of the works as Mahler composed them, but to consider performing one of the reduced instrumentations now available. A smaller-scale version provides an opportunity for both the conductor and the instrumentalists to confront the challenges of performing Mahler's music and to explore Mahler's musical language and style in a more manageable setting. This project focuses on Mahler's Fourth Symphony, which is available in two reduced orchestrations: one by Erwin Stein made in 1921 and another by Klaus Simon from 2007. This paper is part of a larger project that includes a lecture-recital with commentary and a performance of the symphony in the more recent Simon arrangement (documented on video). It presents some background on Mahler's Fourth Symphony and compares the two reduced instrumentations to Mahler's original and to one another. Taken together, the parts of this project demonstrate an approach to learning and performing Mahler's music in a more accessible and practical setting for student conductors. / Dissertation/Thesis / Video recording on Lecture Recital: Mahler symphony No.4, Arr. Klaus Simon / Doctoral Dissertation Music 2016

All of Mahler's works may be divided into four distinct chronological groups, referred to as "symphonic cycles." Motives and themes from the songs within each symphonic cycle were quoted in symphonies in the same cycle. This system of self reference was unique to Mahler, although earlier composers such as Schubert and Wagner set precedents for some of the techniques used by Mahler. The quotations in the early periods appeared only on the surface and did not blend well with their surroundings, but as time progressed Mahler developed the ability to combine the seemingly incompatible elements more smoothly. Mahler's early fascination with distant sounds was also a factor in his use of quotations. The appendix contains a catalog of 100 quotations.

The expressive marking "schattenhaft" appears twice in Gustav Mahler's symphonies: at the beginning of the scherzo in the Seventh and within the first movement of the Ninth. Theodor Adorno's observations regarding Mahler's use of this marking, which connect it to Schopenhauer and Romantic aesthetics, provide the framework for an examination of possible meanings of these two passages in Mahler. Drawing also on references elsewhere in Adorno's book to stylistic and formal features peculiar to Mahler's music, and especially on the comparison he makes between the experiences of reading novels and listening to Mahler's symphonies, this thesis demonstrates that close analysis of the "schattenhaft" passages offers a valuable point of entry into the thinking of both Adorno and Mahler.

The customary way to create jazz arrangements of the Western classical canon—informally called swingin’-the-classics—adapts the original composition to jazz conventions. Uri Caine (b.1956) has devised an alternative approach, most notably in his work with compositions by Gustav Mahler. He refracts Mahler’s compositions through an eclectic array of musical performance styles while also eschewing the use of traditional jazz structures in favor of stricter adherence to formal ideas in the original score than is usual in a jazz arrangement. These elements and the manner in which Caine incorporates them in his Mahler arrangements closely parallel the practices of a translator who chooses to create a “foreignizing” literary translation. The 19th-century philosopher and translation theorist Friedrich Schleiermacher explained that in a foreignizing translation “the translator leaves the writer alone as much as possible and moves the reader toward the writer.” Foreignizing translations accentuate the otherness of the original work, approximating the foreign text’s form and syntax in the receiving language and using an uncommon, heterogeneous vocabulary. The resulting translations, which challenge readers with their frequent defiance of the conventions of the receiving linguistic culture, create literal, exaggerated readings that better convey authors’ characteristic use of their own languages for a new audience. My study of Caine’s music—which includes a survey of previously unavailable manuscripts and an exploration of selected arrangements using an analytical method designed to address the qualities in music that parallel foreignizing translation-contextualizes Caine’s modifications to Mahler’s compositions to generate intertextual readings that simultaneously highlight the ways that Mahler was innovative within his own tradition.

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