Texte remanié de: Diss.--Berlin--Freie Univ., 1985. Titre de soutenance : Thèse soutenue sous le titre : "Über Gedanke und Darstellung : Schönbergs schöpferische Entwicklung in den Jahren 1917-1923. / Bibliogr. p. 215-219. Index.

Thesis--Münster. / "Verzeichnis der Gemälde und Zeichnungen Arnold Schönbergs": p. 117-206. Includes bibliographical references (p. 110-115).

Thesis (Ph. D.)--Ohio State University. / Vita. Includes bibliographical references (leaves 320-323).

Thesis (M.M.)--University of Wisconsin--Madison. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 140-144).

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 23, 2003, Apr. 14, 2004, Oct. 11, 2004, and Nov. 30, 2005. Includes bibliographical references (p. 95-97).

Thesis (D.M.A)--Ohio State University, 1986. / Includes bibliographical references (leaves 53-54). Available online via OhioLINK's ETD Center

No description available.

William Schuman's achievements as a composer are often seen as part of a conservative "Grand Tradition", based upon the models of the symphony, concerto and string quartet. But Schuman's conservatism is philosophical rather than stylistic. From an early style owing much to the influence of his teacher Roy Harris and the musical vocabulary (if not the aesthetic philosophy) of neoclassical Stravinsky, Schuman forges an independent path that sees his instinctive and highly personal approach to composition undergo a fascinating, and almost continuous evolution. The essence of this evolution lies in a gradual shift away from static formal archetypes towards a greater fluidity manifest in single movement forms and an ever greater reliance upon development and harmonic conflict. This process is examined in the context of three of Schuman's finest works, the Third (1941), Sixth (1948), and Ninth Symphonies (1968). Drawing upon the writings of Arnold Schoenberg (notably the concepts of "developing variation" and the musical "Idea7), the process of "autogenetic development" is shown to mirror closely the ideals of "growtw' and "Unity within diversity" encountered in Schoenberg's writings. In addition, the pitch-class set genera theories of Allen Forte and Richard Parks are shown to provide effective models of harmonic materials, highlighting the tendency towards the integration of melody and harmony. While this stylistic journey forms the central strand of the thesis, a second, no less important theme is the nature of the analytical tools themselves. The practical application of genera theories to 'real' musical objects is explored in depth, highlighting the contrasting methodologies of Forte and Parks, and the difficulties associated with the interpretation of genera profiles. In both cases the power of genera theory when applied to large-scale works such as these proves to be its ability to model shades of association far beyond simple networks of inclusion.

Thesis (Ph. D.)--University of Toronto, 2005. / Electronic version licensed for access by U. of T. users.

Thesis (Honors)--College of William and Mary, 2008. / Includes bibliographical references (leaf 38). Also available via the World Wide Web.