Thesis (Ph. D.)--University of Texas at Austin, 1962. / Vita. Bibliography: l. 341-343.

Thesis (Ph. D.)--Princeton University, 1968. / Typescript. Vol. 2: Musical examples. "Volumes 3-4, 'String Trio and Sonority-Variations for Orchestra' not microfilmed at request of author. Available for consultation at Princeton University Library." Includes bibliographical references (v. 1, leaves 102-104).

Thesis--Cologne. / Bibliography: p. 169-181.

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

Arnold Schoenberg's Second String Quartet, Op.10, completed in 1908, is the last of his works in which a key signature is used, and is generally regarded as a transitional work leading towards his 'atonal' period. Each of the first three movements has a key signature, whereas the last movement has no key signature--a characteristic of his later atonal works. / This study traces how the harmonic language evolves over the four movements of the quartet. The present analysis of each movement shows the structural procedures, the nature of the polyphony and the compositional techniques employed, including those which result in the dissolution of tonality. These changes contribute to the significance of the quartet as a critical work within the transition from the tonal to atonal medium.

No description available.

Thesis (Ph. D.)--Princeton University, 1981. / Typescript. "This essay and the Chamber concerto together constitute the dissertation but are otherwise inrelated." Includes the author's Chamber concerto, for flute, clarinet, violin, violoncello, and piano (1 ms. score (73 p.)). Includes bibliographical references (leaf 114).

Thesis (Ph. D.)--Indiana University, 2004. / Computer printout. Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0021. Chair: Marianne C. Kielian-Gilbert. Includes bibliographical references (leaves 242-254), abstract, and vita.

Arnold Schoenberg's atonal monodrama, Erwartune. Op. 17 (1909). has been viewed as an unanalyzable athematic aberration, without any discernible form. Recognizing Erwartune's forward-looking aspect, this dissertation also explores the melodrama and the Lied, a connection with the past which forges a new understanding of its form and structure.

No description available.