This study examines the social and cultural circumstances surrounding the publication of the poems "Venus Mater" and "Wiegenlied" by the late nineteenth-century German poet Richard Dehmel, and the composition of the corresponding lieder by Hans Pfitzner and Richard Strauss. An accurate history of the publication and reception of Richard Dehmel's poetry has been difficult due to the existence of multiple similar versions of his poems. By referring back to the primary sources of his poetry, it is shown that "Venus Mater" and "Wiegenlied," although very similar, were discrete works published at different times in different anthologies of Dehmel's poems. Further examination of the circumstances behind the publication of these two poems shows that the social and cultural reaction to the differing sources of these poems were substantially different. While "Wiegenlied" never aroused any controversy in fin-de-siècle German society, "Venus Mater" was a component of Die Verwandlungen der Venus, a poetic cycle which was one of Dehmel's most problematic works, the publication of which resulted in charges of blasphemy and obscenity against the writer. In light of the circumstances under which Dehmel's poetry was published and received, the musical settings of these poems by Hans Pfitzner and Richard Strauss are investigated. It is shown that, contrary to many previous accounts, Pfitzner's textual source for his lied "Venus Mater" was Dehmel's notorious Die Verwandlungen der Venus, while Strauss' source for his "Wiegenlied" was Dehmel's uncontroversial Erlösungen. The effects which these different texts and their contexts had on the composition and reception of the composers' lieder is explored through an examination of the composers' own writings, the writings of other scholars and critics, and a brief music analysis of the two lieder. The elucidation of these details reveals some ways in which cultural and social ideologies, such as representations of gender and sexuality, can be transmitted through both text and music.

Det här arbetet handlar om hur jag utvecklar mitt oboespel och min musikaliska förståelse för två stycken: Mozarts oboekonsert (sats 1 och 2) och Strauss oboekonsert (sats 1). Anledningen till att jag har valt just dessa stycken är att de vanligtvis är obligatoriska på provspelningar. Eftersom jag gärna vill ha ett orkesterjobb måste jag först vinna en provspelning. Syftet är därför att utvecklas både tekniskt och musikaliskt för att öka mina chanser att vinna en provspelning. Jag har även valt att spela Mozart på min examenskonsert för att sen kunna jämföra provspelningssituationen med konsert- situationen.Metoden jag har valt är att göra inspelningar för att sen lyssna och analysera vad jag kan förbättra. Dessutom ska jag åka på provspelningar och utvärdera min insats samt försöka få kritik från juryn.Jag har genomfört inspelningar vid fem tillfällen under ett års tid och under samma period varit på fyra provspelningar.I slutsatsen kom jag fram till att jag i den sista inspelningen spelar mer rytmiskt och har bättre intonation. Jag märker också en stor utveckling i linjen i mitt spel och hur jag får fram fraseringarna. Utvecklingen har också påverkat spelet i konsertsituationen på ett positivt sätt framförallt när det gäller faktorer som tekniska aspekter och automatisering. De här faktorerna har förbättrat helheten och mitt spel har blivit mer intressant att lyssna på. / <p>Bilaga: 1 CD och 1 DVD</p><p></p>

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Abstract Richard Strauss (1864-1949) was the one of excellent post-romancticism composers. He composed approximately 200 songs. This study mainly discusses M&#x00E4;dchenblumen, op. 22, accomplished in his middle composition period. For the purpose of this study with Strauss making use of lyric, expressive melodies and techniques of New German School, we can examine the kinship of vocal, poems, and accompaniment. The lecture-recital document contains three main sections: the biographical information about Richard Strauss, the musical characteristics of Richard Strauss¡¦ Lieder, and a performance analysis of M&#x00E4;dchenblumen. In these four songs, making a lot of tone colors by increasing chromatic techniques and paying much attention to the declamatory, lyric, continuous, leaping melodies, are all showed Strauss¡¦s achievement of M&#x00E4;dchenblumen.

After 1885, Richard Strauss began to create program music due to Alexander Ritter¡¦s suggestion. Among these works, the most important were the 7 tone poems. Tone poem ¡mDon Quixote¡n was composted according to the play created by the Spanish writer Cervantes. Richard Strauss not only expressed the story by leading motive and tone painting, but also satirized the society. Furthermore, he unleashed his angry by the meaning of the story. My essay is divided into two major parts. The first is the biography of Richard Strauss as well as the characteristic of this tone poem. The second is the analysis of variation structure, motive development, tone painting skill, orchestration timbre and harmony disposition. I still discuss the rhythm, skill and terminology in advanced.

Texte remanié de: Diss.--Philosophische Fakultät--Universität Dusseldorf, 1998. / Bibliogr. p. 293-300.

Texte remanié de: Dissertation--Berlin--Freie Universität, 2006. / Bibliogr. p. 207-212.

Thesis--Frankfurt am Main. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. [166-176]).

Zugl.: Wuppertal, Univ., Diss.

Diss. : Evangelische Theologie : München : 1978. - Bibliogr. p. 613-664. Index. -