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Die REGER-STUDIEN online bieten eine zeitgemäße Form wissenschaftlichen Publizierens. Sie beinhalten Aufsätze und umfangreichere Publikationen zum Themenfeld Max Reger, die nach einem wissenschaftlichen Peer-Review-Verfahren und Lektorat in einem seriösen Layout im Open Access erscheinen und für die die beigefügten Veröffentlichungshinweise des Redakteurs zu beachten sind.

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Max Reger was a prolific composer on the threshold of modernism. The style of his extensive musical output was polarizing among his contemporaries. A criticism of Reger's music is its complex and dense musical structure. Despite writing tonal music, Reger often pushes the boundaries of tonality so far that all sense of formal organization is seemingly imperceptible. In this dissertation, I offer what I observed to be a new way of discerning Reger's motivic relationships and formal structures within and between movements. There are three primary tools and methods I incorporated to make these observations: Schoenberg's developing variation; melodic contour analysis as discussed by Elizabeth West-Marvin and Diana Deutsch; and Janet Schmalfeldt's motivic cyclicism stemming from internal themes. In this dissertation I examine five different musical works by Reger: D minor Piano Quartet, Clarinet Quintet, Piano Concerto, String Quartet, op. 121 and E minor Piano Trio, op. 102. My analysis shows how Reger relies on melodic contours of his motives to connect musical moments across entire movements and entire works with multiple movements. These motives are developed and often mark structurally significant moments providing the organization often perceived as missing in Reger's music.

Thesis (MMus) -- University of Stellenbosch , 2005. / ENGLISH ABSTRACT: In his lifetime Reger was under constant pressure to prove his musical abilities as a composer. With their subjective opinions numerous critics systematically damaged his reputation. In this thesis the focus will be on the Bach- Variations op. 81, a work that probably contributed mostly to the extensive polemic around Reger's style, but also a work that shows his uniqueness and importance as a composer. Op. 81 is a large-scale work that, in my opinion, is unfairly underestimated. This may be due to the fact that it has not yet gained its rightful place in the repertoire. The purpose of my study is to make a positive contribution that hopefully can lead to greater appreciation of Reger and his music. The thesis starts by shedding light on Reger's complex personality and overall living circumstances, as well as on the situation of composition in the early 20th century. It partly consists of a shortened biography, followed by a commentary on the Bach- Variations. Finally a comparison is made between the autograph of op. 81, the printed proof copy (1904), the first edition in 1904, and the Complete Works edition of 1959. / AFRIKAANSE OPSOMMING: In sy eie lewe moes Reger deurgaans veg sodat sy musiek deur die publiek aanvaar kon word. Kritici het met hul subjektiewe menings redelike skade berokken, wat die ontwikkeling van sy reputasie as komponis bemoeilik het. In hierdie tesis word daar gefokus op Reger se Bach- Variasies op. 81, 'n werk wat miskien meer as enige andere bygedra het tot die groot polemiek rondom Reger se styl, maar ook 'n werk wat sy uniekheid en waardigheid as komponis sou bewerkstellig. Op. 81 is 'n grootskaalse werk, wat volgens my mening onderskat word. Miskien is dit weens die feit dat dit nie genoeg bekendheid verwerf het tot op hede nie. Die doel van my studie is dus om 'n positiewe bydrae te maak wat hopelik kan lei tot groter waardering vir Reger en sy musiek. Die tesis begin deur lig te werp op Reger se komplekse persoonlikheid en algemene lewensomstandighede, asook op die stand van komposisie in die vroee jare van die 20ste eeu. Dit bestaan dus deels uit 'n verkorte biografie, gevolg deur 'n bespreking van die Bach- Variasies. Ten slotte word daar 'n vergelyking getref tussen die op. 81-outograaf, die gedrukte proefkopie (1904), die eerste druk in 1904, en die volledige uitgawe van 1959.

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