Diss.--Philosophie--Würzburg, 1997. / Bibliogr. p. 271-284. Index.

Thesis (Mus.Bach.Hons. 1965) -- Dept. of Music, University of Adelaide.

Thesis (Ph. D.)--Universität Köln, 1950. / Includes bibliographical references (p. 326-329) and index.

Inaug.-Diss.--Freiburg i.B. / Vita. Bibliography: p. 109-111.

Diss.--Phil. Fak.--Augsbourg, 1993. / Bibliogr. p. 398-403. Index.

Thesis (D. Mus. Arts)--University of Washington, 2004. / Vita. Includes bibliographical references (leaves 95-97).

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2007. / Title from title screen (site viewed Oct. 10, 2007). PDF text: 86 p. : music. UMI publication number: AAT 3258774. Includes bibliographical references. Also available in microfilm and microfiche formats.

Max Reger is a composer who lived between the end of the nineteenth century and the early years of the twentieth century. There were shocking new sounds in music due highly to using chromaticism of Wagner. Harmonies within music collapse, which in turn influences rhythms, sounds and textures emancipated gradually. The music style of Reger which has been compared to the contemporary music environments was more conservative, but he also tried to use modern elements such as dissonant harmonies. However, his inclusion of these elements wouldn¡¦t interfere with the tonality itself. In 1930, he published a treatise on a basic theory which contained chromaticism and skills of modern modulations. In fact, his music style has become refined since 1915. It was still criticized by contemporary critics of music, but this didn¡¦t influence the development of the polyphonic music of Reger. Afterwards, the value of Reger¡¦s work was gradually recognized in the twentieth century. People thought that his pieces imitating the model of Bach¡¦s music had significant meaning and used the spirit of modern day to introduce the ancient music to the world rather than being overly ostentatious. Thus, we know that the art value of a composer and their work cannot be confined to the people and the times that they live in. The lecture-recital discourse includes three main parts. The first and second chapters summarize the development of German music in nineteenth century and the personal review of Reger and his music style. The third chapter gives an analysis on techniques of the ¡§Cello Suite, Op. 131c, No. 2¡¨. More importantly, it would make the writer understand it more and interpret closed to the original meaning of Reger with my personal style.

Zugl.: Wien, Univ., Diss., 2002 u.d.T.: Huber, Bernhard M.: Die Streichungen in den Autographen der Kammermusikwerke Max Regers

Inaug.-Diss.--Bonn. / Cover title. Lebenslauf.