Issued also as thesis, University of Munich. / Bibliography: p. 82-83. Bibliographical footnotes.

Inaug.-Diss.--Bonn. / Cover-title. "Literatur": p. [3].

This thesis centres on an examination of the music and commentary of Thomas Adès. Though academics and journalists alike have noted the importance of Adès's programmatic descriptions, there is little work that considers his music alongside his commentary. Reinforcing this split is the notion that Adès is not merely reticent but also deliberately misleading: Service (2012) notes the way in which Adès wittily plays with his questions in interview whilst Fox (2004) suspects the composer of being knowingly naïve when outlining his approach to Brahms and the Piano Quintet. Venn (2006) has investigated the relationship between the discourse stemming from Asyla's title and the music, concluding that 'the notion of asylum inspires the musical processes only in an abstract manner, if at all'. However, examining the music alongside his commentary can uncover valuable insights into his music and enrich our experience of the work. I shall explore the two of his works, Polaris (2010) and Living Toys (1993) and their programmatic discourse in order to demonstrate how it can be understood as part of the work. Thomas Adès, builds up elaborate conceptual metaphors which I shall explore through Facounnier and Turner's theory of Conceptual Blending. It is my position that, rather than understanding programmatic discourse as an explanation or translation of Adès's music, it is more fruitful to view it as an extension of the compositional process, and an active part of the work. The final part of this paper relates the issues found in the thesis to my own composition portfolio. The portfolio of compositions comprises three pieces: Round Trips: Three Pieces for Oboe and Cello; Foreboding, for chamber ensemble; and A Reflection Di(still)ed for string quartet. Though these pieces are distinct, they collectively seek to explore ways of integrating programmatic discourse into the work. This is especially true of the largest piece Round Trips which comprises three movements which develop two conflicting strands of conceptual metaphors.

Thesis (M.M.)--Bowling Green State University, 2010. / Document formatted into pages; contains 1 score (33 p.) For flute, oboe, clarinet in B♭, bassoon, horn in F, piano and strings. Duration: 11 min. Includes bibliographical references.

Thesis (D. Mus. Arts)-- University of Washington, 2005. / Vita. Includes bibliographical references (leaves 77-79).

No description available.

Volumes one and two of Annees de Pelerinage contain travel impressions. The pieces in volume three serve as a means of expressing a religious pilgrimage. The religiousmeaning is implied by the titles and by letters Liszt wrote concerning specific pieces. For the pieces to have programmatic significance, the music must support the verbal clues. This dissertation maintains that selected pieces in Annees de Pelerinage III are programmatic and that Liszt provided musical clues that have not been discovered or, if noticed, have not been analyzed in detail. Also, the dissertation explores similarities between selected pieces of Annees de Pelerinage III and other programmatic or texted works by Liszt sharing the same subject. The findings reinforce the premise that Liszt deliberately intended to express certain extra-musical ideas within the music itself. The paper briefly analyzes the musical reasons for labeling Annees de Pelerinaae III a cycle. Different sources call these pieces cyclic, citing the shared common religious theme as the reason. This dissertation discusses musical reasons that reinforce the idea of a cycle. Chapter II discusses Liszt's views on program music. Chapter III identifies common themes in Liszt's programmatic works and discusses the symbolic significance of thematic transformation. Chapter IV suggests an approach to analyzing program music. Chapter V discusses Liszt's musical narrative and his use of common rhetorical devices. Chapter VI analyzes extra-musical associations in selected pieces from the Annees de Pelerinaae—Troisieme Annee. Five pieces have been selected for analysis—Anaelus1. Aux Cypres de la Villa d'Este I and II, Marche funebre. and Sursum corda.

Inaug.-Diss.--Munich. / Lebenslauf. Description based on print version record. "Literatur-Verzeichnis": p. vii-ix.

I denna studie utforskas komposition ur ett semiotiskt perspektiv, och hur olika ”tecken” används i komposition för att förmedla något. Studiens syfte är att utforska semiotiska tecken vid komponerande av ett stycke musik, och studiens forskningsfrågor är: Vilka semiotiska tecken använder jag mig av när jag komponerar programmusik? Hur använder jag mig av dessa tecken i min komposition? Metoden som använts är ljudinspelningar av den komponerade musiken samt mina högt uttalade reflektioner över det som sker. Resultatet visar att jag som kompositör använder mig av tre olika teckentyper, indexikala, symboliska och affektionella tecken, för att förmedla musikens innehåll. Resultatdelen visar också att jag använder mig av varierande grad av definierad orkestrering för att förmedla dessa tecken med varierande tydlighet. Slutligen diskuteras dessa teckens egenskaper och funktion. / This study focuses on composition from a semiotic perspective, and how different “signs” are used in compositions to mediate the music’s content. The purpose is to explore the use of semiotic signs in a composition, and the research questions are: Which semiotic signs do I use in this specific composition? And how do I use these signs? The method consists of audio recordings of the composed music, and of my expressed thoughts and feelings. The result shows that I use three different kinds of signs: indexical, symbolic and affectional signs, in purpose to mediate the music’s content. Furthermore, the result shows that I use defined orchestration in varying degree to mediate these signs in purpose to obtain varied clarity. Finally the quality and the functions of these signs are discussed.

The purpose has been to prove that there are connections between the visual arts (including architecture) and music. In the development of the argument it is shown that common themes exist in the arts, such as style, form, balance, line, color, and texture. Examples of piano music are offered from the last 100 years that show, to a greater or lesser extent, the influence of art. In some cases this is simply a matter of titles, whereas in other instances, such as Mussorgsky's Pictures at an Exhibition, the influence goes deeper. In the final chapter the proposition is presented that the composer himself sometimes acts as a painter, portraying concrete images directly in music. Examples are offered of piano pieces depicting people, animals, places, objects or activities.