Richard Wagner's published writings present various topoi to which he returned repeatedly. Often he adopts a historiographic approach in his arguments, and this feature suggested the present study concerning the composer's concepts of history. Wagner's historiographic approach is reflected in his discussions of the Greek influence on music. The contents of his personal libraries, first in Dresden and then in Zurich/Bayreuth, are also considered as further resources for the composer's study of history. Along with these sources, his autobiography, letters, and the extensive diary of his wife Cosima provide further substance for the present discussion. The shifts in Wagner's theories under the influence of Arthur Schopenhauer are also examined as is the composer's eventual realization that much of what he was attempting to do in his own works had already been foreshadowed in the early Italian humanist experiments that led to the birth of opera. Examples from his works, particularly Die Meistersinger von Nürnberg, reveal his adoption of traits of various historical style periods in music history in his own compositions. Wagner's reverence for Palestrina and Bach are also highlighted. / text

This thesis is a study of T.S. Eliot's poetry in the light of the different ways in which it can be considered 'musical'. Two concerns central to the thesis are: (1) Eliot's enduring interest in the musical quality of poetry; (2) the critical usefulness and viability of drawing analogies between his poetry and music. The thesis considers three important related topics: (1) Eliot's preoccupation with language, its inevitability and its inadequacy; (2) the figure of the seeker in his poetry; (3) his interest in mysticism. The thesis begins by exploring affinities between music and literature in the context of Wagner’s ideal of the 'Gesamtkunstwerk' and its influence on French Symbolist writers. It goes on to trace the development of T.S. Eliot's poetic style as influenced by the French Symbolist poets, by Dante and the mediaeval mystics, and by the music of Wagner, Stravinsky and other composers. Throughout, Eliot's poetry presents variations on the theme of detachment and involvement in relation to the figure of the seeker: consciousness is most engaged and challenged when it journeys. In the early poetry, music serves to emphasize failed relationships: the closer the physical proximity between protagonists, the greater the psychological distance. From The Waste Land on, Eliot makes use of myth and leitmotif to portray consciousness in the role of seeker urged on by the need for meaning. After his conversion to Anglo-Catholicism in 1927, Eliot's characters embark on a journey inward, where music, now "unheard", no longer signifies neurosis and despair, but becomes the only language for the ineffable.

Thesis (D. Min.)--Bethel Theological Seminary, 1983. / Includes bibliographical references (leaves 173-178).

Thesis (M.Phil) -- Australian Catholic University, 2006. / Submitted in total fulfillment of the requirements for the degree of Master of Philosophy. Bibliography: p. 167-177. Also available in an electronic format via the internet.

Weimar, BauhausUniversiẗat, Diss., 2008.

Th. inaug. lettres Berne, 1918.

Thesis (Ph. D.)--Universität zu Jena, 1926.

Inaug.-Diss.--Tübingen. / Cover title. Lebenslauf. "Literaturangabe": p. 6-8.

Treatise (D.M.A.)--University of Texas at Austin, 2005. / Supervisors: K. M. Knittel and William Lewis. Vita. Includes bibliographical references.

Th. Etat--Paris--Paris-IV-Sorbonne, 1994. / Introd. en allemand et en anglais. Bibliogr. p. 427-443. Index.