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Dissertations / Theses on the topic 'Mahler'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Ritchie, J. Cole. "Foreignizing Mahler: Uri Caine’s Mahler Project As Intertraditional Musical Translation." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804974/.

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The customary way to create jazz arrangements of the Western classical canon—informally called swingin’-the-classics—adapts the original composition to jazz conventions. Uri Caine (b.1956) has devised an alternative approach, most notably in his work with compositions by Gustav Mahler. He refracts Mahler’s compositions through an eclectic array of musical performance styles while also eschewing the use of traditional jazz structures in favor of stricter adherence to formal ideas in the original score than is usual in a jazz arrangement. These elements and the manner in which Caine incorporates them in his Mahler arrangements closely parallel the practices of a translator who chooses to create a “foreignizing” literary translation. The 19th-century philosopher and translation theorist Friedrich Schleiermacher explained that in a foreignizing translation “the translator leaves the writer alone as much as possible and moves the reader toward the writer.” Foreignizing translations accentuate the otherness of the original work, approximating the foreign text’s form and syntax in the receiving language and using an uncommon, heterogeneous vocabulary. The resulting translations, which challenge readers with their frequent defiance of the conventions of the receiving linguistic culture, create literal, exaggerated readings that better convey authors’ characteristic use of their own languages for a new audience. My study of Caine’s music—which includes a survey of previously unavailable manuscripts and an exploration of selected arrangements using an analytical method designed to address the qualities in music that parallel foreignizing translation-contextualizes Caine’s modifications to Mahler’s compositions to generate intertextual readings that simultaneously highlight the ways that Mahler was innovative within his own tradition.

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2

Haber, Michael. "Das Jüdische bei Gustav Mahler." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2009. http://d-nb.info/993954510/04.

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3

Rogers, Mathew D. "Hypergeometric functions and Mahler measure." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1420.

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The logarithmic Mahler measure of an n-variable Laurent polynomial, P(x1,...,xn) is defined by [expression]. Using experimental methods, David Boyd conjectured a large number of explicit relations between Mahler measures of polynomials and special values of different types of L-series. This thesis contains four papers which either prove or attempt to prove conjectures due to Boyd. The introductory chapter contains an overview of the contents of each manuscript.

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4

Nguyen, Phu Qui Pierre. "Equations de Mahler et hypertranscendance." Paris 6, 2012. http://www.theses.fr/2012PA066809.

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Soit K un corps équipé d'un endomorphisme \sigma. Dans cette thèse, nous montrons que la théorie de Galois aux \sigma-différences bien connue dans le cas où \sigma est un automorphisme du corps K peut être adaptée au cas où \sigma n'est plus nécessairement surjectif, en passant à la clôture inversive de K. Nous utilisons ensuite cette théorie de Galois pour donner un critère d'indépendance algébrique pour les solutions de \sigma-équations du premier ordre. Ce résultat nous permet de caractériser les solutions hyperalgébriques de ces \sigma-équations lorsque K est muni d'une dérivation vérifiant une hypothèse de quasi-commutation avec \sigma. En appliquant notre critère d'indépendance algébrique à l'opérateur de Mahler, nous donnons enfin une preuve galoisienne d'un théorème d'hypertranscendance de Ke. Nishioka<br>Let K be a field equipped with an endomorphism \sigma. In this thesis, we show that the Galois theory for \sigma-difference equations, well known if \sigma is an automorphism of K, can be adapted to the case when \sigma is not necessarily surjective anymore, by passing to the inversive closure of K. We then use this Galois theory to give an algebraic independence criterion for solutions of first order \sigma-equations. This result allows us to characterize the hyperalgebraic solutions of such \sigma-equations when K is endowed with a derivation which almost commutes with \sigma. Applying our algebraic independence criterion to the Mahler operator setting, we give a galoisian proof of a hypertranscendence theorem of Ke. Nishioka

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5

Houser, Krista Lea. ""Schattenhaft" in Mahler's Seventh and Ninth Symphonies: An Examination of a Passage in Adorno's Mahler: A Musical Physiognomy." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5166.

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6

Spaude, Edelgard. "Primož Kuret, Mahler in Ljubljana [Mahler und Ljubljana] (1881-1882), Ljubljana 1997, 139 S. In slowenischer Sprache, Zusammenfassung in deutscher Sprache auf 33 Seiten; Vladimir Karbusicky, Mahler in Hamburg. Chronik einer Freundschaft, Hamburg 1996, 179 S. [Rezension]." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222998.

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7

Mahler, Claudia. "Jahrbuch Menschenrechte 2003 / [rezensiert von] Claudia Mahler." Universität Potsdam, 2003. http://opus.kobv.de/ubp/volltexte/2011/5521/.

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8

Hambrook, Kyle David. "Implementation of a Thue-Mahler equation solver." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/38244.

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A practical algorithm for solving an arbitrary Thue-Mahler equation is presented, and its correctness is proved. Methods of algebraic number theory are used to reduce the problem of solving the Thue-Mahler equation to the problem of solving a finite collection of related Diophatine equations having parameters in an algebraic number field. Bounds on the solutions of these equations are computed by employing the theory of linear forms in logarithms of algebraic numbers. Computational Diophantine approximation techniques based on lattice basis reduction are used to reduce the upper bounds to the point where a direct enumerative search of the solution space becomes possible. Such an enumerative search is carried out with the aid of a sieving procedure to finally determine the complete set of solutions of the Thue-Mahler equation. The algorithm is implemented in full generality as a function in the Magma computer algebra system. This is the first time a completely general algorithm for solving Thue-Mahler equations has been implemented as a computer program.

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9

Stoll-Knecht, Anna. "The Genesis of Mahler?s Seventh Symphony." Thesis, New York University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3635308.

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<p> Mahler's Seventh Symphony stands out as one of the most provocative symphonic statements of the early twentieth century. Mahler's musical past is summoned in particular way in this work, knitting a complex web of associations that provide multiple hermeneutic leads. Yet despite the work's stunning qualities and a positive reception at the time of its first performance in 1908, the Seventh has progressively acquired the status of "problem child" in the Mahlerian canon. One of the main factors in this process is precisely its highly intertextual character, since the Seventh has been often heard either as "existing in the shadow" of the Sixth Symphony, or as "too reminiscent" of Wagner's <i> Die Meistersinger von Nürnberg</i>. </p><p> By focusing on sketch materials previously considered as "discarded" - which are generally overlooked in sketch studies - my dissertation reveals unexpected connections between the Seventh and both the Sixth and <i> Meistersinger</i>. This shows that Mahler's compositional project was strongly grounded in a dialogue with works from the past, and that this referential aspect should be taken as an important key to interpreting the work. </p><p> My study sheds light on the complex genetic history of this work. First, it reveals that the composition of the Seventh was deeply entangled with that of the Sixth, since Mahler was already at work on the second, fourth and last movements of the Seventh in 1904 - while he was completing the outer movements of the Sixth. </p><p> Second, I argue that Mahler's open allusions to <i>Meistersinger </i> in the Finale are only the audible remainder of a deeper compositional interpretation of Wagner's music. In fact, Wagnerian references are more explicit in the sketches than in the final version, which suggests that Mahler, in the end, sought to occlude the audible "Wagnerizing" in the symphony. </p><p> My study proposes a reassessment of the least well known of Mahler's symphonies and shows how this specific work enriches our understanding of Mahler in a unique way. Finally, it invites us to explore the question of Mahler's reception of Wagner; and, by extension, of Mahler's view of his Jewish heritage, as well as of his relation to German culture.</p>

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10

Staines, Matthew. "On the inverse problem for Mahler Measure." Thesis, University of East Anglia, 2012. https://ueaeprints.uea.ac.uk/48118/.

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We investigate a number of aspects of the inverse problem for Mahler Measure. If β is an algebraic unit, we demonstrate how to determine if there are any reciprocal numbers with measure β. We also give a formula for the number of integer polynomials with measure β and given degree.

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11

Mahler, Carsten [Verfasser]. "Automatisierungsmodule für ein funktionsorientiertes Automatisierungsengineering / Carsten Mahler." Hamburg : Helmut-Schmidt-Universität, Bibliothek, 2014. http://d-nb.info/1051601975/34.

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12

Lafetá, Anna Carolina Martins Machado. "Conjuntos excepcionais e alguns problemas de Mahler." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/24501.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Exatas, Departamento de Matemática, 2017.<br>Submitted by Raiane Silva (raianesilva@bce.unb.br) on 2017-07-20T16:56:25Z No. of bitstreams: 1 2017_AnnaCarolinaMartinsMachadoLafeta.pdf: 881855 bytes, checksum: f258f3de77425d2f9b49c472583a768b (MD5)<br>Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-09-12T18:57:11Z (GMT) No. of bitstreams: 1 2017_AnnaCarolinaMartinsMachadoLafeta.pdf: 881855 bytes, checksum: f258f3de77425d2f9b49c472583a768b (MD5)<br>Made available in DSpace on 2017-09-12T18:57:11Z (GMT). No. of bitstreams: 1 2017_AnnaCarolinaMartinsMachadoLafeta.pdf: 881855 bytes, checksum: f258f3de77425d2f9b49c472583a768b (MD5) Previous issue date: 2017-09-12<br>Seja f uma função inteira e transcendente. Denotamos por Sf o conjunto de todos os α ∈ ´Q tais que f(α) ∈ ´Q (o conjunto excepcional de f). Nessa dissertação, mostraremos quais subconjuntos de ´Q podem ser o conjunto excepcional de alguma função inteira e transcendente. Além disso, trataremos de dois problemas de Mahler relacionados a propriedades de funções inteiras e transcendentes. Mostraremos que existem funções inteiras e transcendentes que levam um subconjunto dos números de Liouville nele mesmo e daremos uma resposta positiva ao Problema B de Mahler: Problema B: Existe uma função inteira e transcendente f(z) = Σn =0 ∞ a nz n com coeficientes racionais tal que f( ´Q ) ⊆ ´Q e f−1( ´Q ) ⊆ ´Q ? .<br>Let f be an entire transcendental function. We denote by Sf the set of all α ∈ ´Q such that f(α) ∈ ´Q (exceptional set of f). Throughout this dissertation, we will show which subsets of ´Q can be the exceptional set of some entire transcendental function. Moreover, we will deal with two of Mahler’s problems related to properties of entire transcendental functions. We will show that there are entire transcendental functions that map a subset of Liouville numbers in itself and we will give a positive answer for Mahler’s Problem B: Problem B: Is there an entire transcendental function f(z) = Σn =0 ∞ a nz n with rational coefficients such that que f( ´Q ) ⊆ ´Q e f−1( ´Q ) ⊆ ´Q ? .

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13

Fernandes, Gwladys. "Méthode de Mahler en caractéristique non nulle." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE1078/document.

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Cette thèse se situe dans le domaine de la théorie des nombres. Elle traite de la transcendance et de l'indépendance algébrique de valeurs de fonctions mahlériennes définies sur des corps de fonctions de caractéristique p>0. La problématique de cette thèse est l'établissement de l'équivalence entre l'indépendance algébrique de valeurs de fonctions mahlériennes aux points algébriques et celle des fonctions elles-mêmes. L'une de nos motivations est l'observation fructueuse de L. Denis selon laquelle il est possible en caractéristique non nulle de déformer des nombres remarquables (périodes de modules de Drinfeld) comme valeurs de fonctions mahlériennes. Nous démontrons notamment que toute relation algébrique homogène entre valeurs, en un point algébrique non nul régulier, de solutions d'un système mahlérien engendrant une extension régulière, provient de la spécialisation d'une relation algébrique homogène entre les fonctions elles-mêmes. Il s'agit de l'analogue de travaux de P. Philippon et de B. Adamczewski et C. Faverjon et d'un raffinement d'un théorème fondamental de Ku. Nishioka, dans le cas où K est un corps de nombres. Ainsi, l'étude de l'indépendance algébrique des valeurs de fonctions mahlériennes se ramène à celle des fonctions elles-mêmes. Cependant, contrairement à la caractéristique nulle, une fonction mahlérienne algébrique n'est pas nécessairement rationnelle et la transcendance de fonctions mahlériennes dans ce contexte demeure encore mystérieuse. Néanmoins, nous établissons que cette dichotomie reste valide pour les fonctions d-mahlériennes, où p ne divise pas d. Par ailleurs, nous démontrons un théorème de type Kolchin qui fournit une condition suffisante à l'indépendance algébrique de fonctions mahlériennes d'ordre 1 inhomogène ainsi qu'une caractérisation de la transcendance de telles fonctions. Enfin, au-delà de ces résultats qualitatifs, nous nous intéressons aux mesures d’indépendance algébrique entre valeurs de fonctions mahlériennes en caractéristique non nulle et proposons une approche, inspirée de travaux récents de E. Zorin en caractéristique nulle, qui permettrait d’obtenir de tels résultats quantitatifs<br>This thesis is part of Number Theory. It deals with transcendence and algebraic independence of values of Mahler functions over function fields of characteristic p>0. The starting point of this thesis is to prove the equivalence between algebraic independence of values of Mahler functions at algebraic points and that of the functions themselves. One of our main motivations is the fruitful observation due to L. Denis that it is possible to reach special numbers (periods of Drinfeld modules) as values of Mahler functions in positive characteristic. We show that every homogeneous algebraic relation between values of solutions of Mahler systems, which generate regular extensions, at nonzero algebraic regular numbers, arises as specialization of an homogeneous algebraic relation between the functions themselves. This is the analogue of the work of P. Philippon and B. Adamczewski and C. Faverjon, and a refinement of a fundamental theorem from Ku. Nishioka, when K is a number field. Thus, the study of algebraic independence between values of Mahler functions turns into that between the functions themselves. But algebraic Mahler functions over function fields of positive characteristic are not necessarily rational, contrary to the number fields case. Transcendence of Mahler functions in this framework still remains mysterious. Nevertheless, we state that this dichotomy is still valid for d-Mahler functions, when p does not divide d. Moreover, we prove a Kolchin theorem that provides a sufficient condition for algebraic independence of inhomogeneous Mahler functions of order 1, along with a characterization of the transcendence of such functions. Finally, we are interested in algebraic independence measures of values of Mahler functions in positive characteristic. We suggest an approach, based on a recent work of E. Zorin in characteristic zero, which would give such qualitative results in our context

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14

Gorges, Jean Carlos. "Análise retórico emocional no ciclo de canções Kindertotenlieder de Gustav Mahler, redução para canto e piano." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28682.

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Nesta dissertação o objetivo principal é somar duas ferramentas de caráter contrastante afim de proporcionar uma acuracidade de análise musical que vai além do olhar das bases harmônicas, mas, também do olhar melódico e literário do texto em questão. A aplicação da retórica e dos estudos cognitivos são ferramentas que podem ampliar a perspectiva da preparação da performance, visto aqui, como referencial para a obra específica de Mahler, mas, não obstante de poder ser aplicado em outros repertórios. O ciclo de canções Kindertotenlieder possui segmentos que avaliados através da análise retórico-emocional liga-se diretamente com os afetos do compositor e que necessitam estar de acordo com o intérprete durante sua performance para que o público seja convidado através da música e da interpretação a reviver a história que se passa por trás das canções; ABSTRACT: Rhetorical-emotional analysis on Gustav Mahler’s Kindertotenlieder, reduction to piano and voice. In this dissertation the main objective is to add two tools of contrasting character in order to provide an accuracy of musical analysis that goes beyond the look of the harmonic bases but also the melodic and literary look of the text in question. The application of rhetoric and cognitive studies are tools that can broaden the perspective of performance preparation, seen here, as a reference for the specific work of Mahler, but, notwithstanding the fact that it can be applied in other repertories. The Kindertotenlieder song cycle has segments that are evaluated through rhetoricalemotional analysis and that need to be in agreement with the interpreter during his performance so that the audience is invited through music and interpretation to relive the story behind the songs.

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15

Mahler, Tobias [Verfasser]. "Synthese kapazitätsoptimierter Antennensysteme mit messtechnischer Verifikation / Tobias Mahler." Karlsruhe : KIT Scientific Publishing, 2018. http://www.ksp.kit.edu.

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16

Roman, Zoltan. "Gustav Mahler: Conductor and Composer as ’Music Historian’." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38338.

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17

BOUGHZALA, HAFSA SANA. "Mesure de mahler de polynomes de deux variables." Paris 6, 2000. http://www.theses.fr/2000PA066066.

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Cette these porte sur la mesure de mahler de polynomes de deux variables. La premiere motivation est la recherche de polynomes de petite mesure. Le deuxieme probleme concerne la conjecture de boyd sur la relation entre la mesure de mahler et des valeurs speciales de l-fonctions ou de serie l de dirichlet. On se propose d'etudier deux familles de polynomes, dependants d'un parametre, et qui ne verifient pas les conditions de la conjecture de boyd. La premiere famille est donnee par les polynomes p l , s 0 = (x 2 + s 0x 1)y 2 lxy x 2 + s 0x + 1 qui ne s'annulent pas sur le tore. On montre que pour de telles familles, la derivee de la mesure logarithmique par rapport au parametre est proportionnelle a une periode de la jacobienne de la courbe p l , s 0 = 0 et verifie donc une equation de picard fuchs. Pour determiner ce type d'equations, on donne un programme en maple qui permet d'obtenir les equations de picard fuchs associees aux quartiques definies par y 2 = a(t)x 4 + b(t)x 2 + c(t), avec a, b et c des polynomes de t. Le calcul de la mesure de mahler des polynomes correspondants aux courbes singulieres nous permet de donner sous forme d'integrale les valeurs du dilogarithme tordu par le caractere x - 4 en des points algebriques. Quant a la deuxieme famille, elle est donnee par p l(x,y) = y 2x 2 + lyx 2 + x 2 yx + y 2 + ly + 1. On donne l'expression de la mesure de mahler de ces polynomes pour toutes les valeurs du parametre et on utilise le resultat de boyd lim n m(p(z,z n)) = m(p(z 1,z 2)) pour construire des polynomes d'une variable de petite mesure pour etendre une liste etablie parr boyd et mossinghoff. On montre que la derivee de la mesure par rapport a l n'est plus proportionnelle a une periode de differentielle de premiere espece mais elle s'exprime en fonction d'integrale elliptique de troisieme espece. Enfin, dans le dernier chapitre, on explique sur quelques exemples la conjecture de boyd et on etudie la relation entre ses deux conditions.

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18

von, Held Kristina. "A Whole Canvas Glowing: Poems of Alma Mahler." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279556333.

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19

Schabbing, Bernd. "Gustav Mahler als Konzert- und Operndirigent in Hamburg /." Berlin : E. Kuhn, 2002. http://catalogue.bnf.fr/ark:/12148/cb39024365d.

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20

PAVLOVIC, Milijana. "MAHLER E L'ITALIA. EPISODI BIOGRAFICI E PROCESSO CREATIVO." Doctoral thesis, Università degli studi di Ferrara, 2009. http://hdl.handle.net/11392/2388705.

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When in 1905 Gustav Mahler went back home from Trieste after having conducted a concert there, he left a score of his Fifth Symphony filled with autograph corrections. As the Fifth Symphony is the most retouched work of Mahler's, the Trieste score is one of the precious testimonies of the long process of reorchestrating and refining that was stopped only when the composer died. Mahler's 1905 visit to Trieste was his first visit to an Italian cultural territory in quality of conductor and composer. It happened in a specific social context in which a group of illuminated intellectuals was trying to save the cultural life in the city. He came back once again, in 1907, after a visit to Rome where he conducted two concerts and in 1910 lived the biggest disaster in his entire career. Trieste, however, was different, so the Fifth Symphony he conducted there did not pass unnoticed. The study of the score that Mahler left in Trieste shows some important details and corrects the widespread opinion that its role in the genesis of the final version of the Fifth is hardly relevant. Moreover, the set of parts used for the concert in Trieste reveals which of the corrections were actually performed. The comparison of the score used by Mahler with the final version of the Fifth proves the former to be quite significant, as most of the modifications survived all subsequent revisions.

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Greuel, Bernd. "Untersuchungen zur algebraischen Unabhängigkeit der Werte von Funktionen vom Mahlerschen Typ." Köln, 1999. http://deposit.ddb.de/cgi-bin/dokserv?idn=957637969.

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22

Wildhagen, Christian. "Die Achte Symphonie von Gustav Mahler : Konzeption einer universalen Symphonik /." Frankfurt am Main : Peter Lang, 2000. http://catalogue.bnf.fr/ark:/12148/cb37760574q.

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Pauset, Eve-Norah Caullier Joëlle. "Temps et récit chez Gustav Mahler une lecture croisée de Theodor W. Adorno et Paul Ricœur /." Lille : A.N.R.T, 2003. http://www.univ-lille3.fr/theses/pauset-eve-norah/html/these.html.

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24

Prim, Shih-Ni. "Mahler in Utah : Maurice Abravanel and the Utah Symphony's performances and recordings of Gustav Mahler's symphonies (1951-1979)." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3167.

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In the 1960s, Gustav Mahler's music received renewed interest in America. While certain champions of Mahler from this period, such as Leonard Bernstein and Bruno Walter, have attracted scholarly attention, other conductors have been largely overlooked, including Maurice Abravanel (1903–1993). During Abravanel's directorship of the Utah Symphony (1947–1979), he consistently programmed Mahler's music, making the orchestra the first American orchestra to record all of Mahler's symphonies. Although the concerts contributed meaningfully to Utah's musical life and some of the recordings were well-received by critics in and outside America, they remain marginalized in accounts of Mahler's music in America. To bridge this gap, the dissertation examines primary sources, including concert and record reviews, program notes, correspondence, and interview transcripts to present the history, reception, and influence of Abravanel's Mahler journey with the Utah Symphony. By examining the musical past of a Western city and considering musical and extramusical factors, this dissertation demonstrates that local and technological histories influenced musical decisions, all of which in turn played a role in the growth of the Utah Symphony and planted Mahler's music in the community. The examination reveals that Abravanel's Mahler carried different meanings for different parties. The recordings, with low prices and superior sound, were recommended by critics and welcomed by audiophiles and music lovers. Abravanel's interpretations were commonly criticized as dispassionate, yet were embraced by those who did not prefer Bernstein's more involved, dramatic readings. Through the recordings of Mahler's music, the Utah Symphony gained national and international acclaim. In Salt Lake City, Mahler became a familiar name, and his music remains integral to the city's music culture. As of the completion of this dissertation, the Utah Symphony is nearing the end a two-season (2014–2016) Mahler cycle and has recorded two symphonies by Mahler under music director Thierry Fischer. The McKay Music Library of the University of Utah is digitizing Abravanel's Mahler scores and documenting memories about Abravanel's endeavors with the Austrian composer's music. The concerts, recordings, and efforts to preserve history again bring the collective memories of Abravanel's Mahler back to the community.

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Poulet, Marina. "Equations de Mahler : groupes de Galois et singularités régulières." Thesis, Lyon, 2021. https://tel.archives-ouvertes.fr/tel-03789627.

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Cette thèse est consacrée à l'étude des équations de Mahler et des solutions de ces équations, appelées fonctions de Mahler. Des exemples classiques de fonctions de Mahler sont les séries génératrices des suites automatiques. La première partie de cette thèse porte sur les aspects galoisiens des équations de Mahler. Notre résultat principal est un analogue pour ces équations du théorème de densité de Schlesinger selon lequel la monodromie d'une équation différentielle à points singuliers réguliers est Zariski-dense dans son groupe de Galois différentiel. Pour cela, nous commençons par attacher une paire de matrices de connexion à chaque équation de Mahler singulière régulière. Ces matrices nous permettent de construire un sous-groupe du groupe de Galois de l'équation de Mahler et nous montrons que ce sous-groupe est Zariski-dense dans le groupe de Galois. La seule hypothèse de ce théorème de densité est le caractère singulier régulier de l'équation de Mahler considérée. La deuxième partie de cette thèse est consacrée à la construction d'un algorithme qui permet de reconnaître si une équation de Mahler est singulière régulière<br>This thesis is devoted to the study of Mahler equations and the solutions of these equations, called Mahler functions. Classic examples of Mahler functions are the generating series of automatic sequences. The first part of this thesis deals with the Galoisian aspects of Mahler equations. Our main result is an analog for Mahler equations of the Schlesinger’s density theorem according to which the monodromy of a regular singular differential equation is Zariski-dense in its differential Galois group. To this end, we start by attaching a pair of connection matrices to each regular singular Mahler equation. These matrices enable us to construct a subgroup of the Galois group of the Mahler equation and we prove that this subgroup is Zariski-dense in the Galois group. The only assumption of this density theorem is the regular singular condition on the considered Mahler equation. The second part of this thesis is devoted to the construction of an algorithm which recognizes whether or not a Mahler equation is regular singular

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Mehrabdollahei, Mahya. "La mesure de Mahler d’une famille de polynômes exacts." Thesis, Sorbonne université, 2022. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2022SORUS170.pdf.

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Dans cette thèse, nous étudions la suite de mesures de Mahler d’une famille de polynômes à deux variables exacts et réguliers, que nous notons Pd := P0≤i+j≤d xiyj . Elle n’est bornée ni en volume, ni en genre de la courbe algébrique sous-jacente. Nous obtenons une expression pour la mesure de Mahler de Pd comme somme finie de valeurs spéciales du dilogarithme de Bloch-Wigner. Nous utilisons SageMath pour approximer m(Pd) pour 1 ≤ d ≤ 1000. En recourant à trois méthodes différentes, nous prouvons que la limite de la suite de mesures de Mahler de cette famille converge vers 92π2 ζ(3). De plus, nous calculons le développement asymptotique de la mesure de Mahler de Pd et prouvons que sa vitesse de convergence est de O(log dd2 ). Nous démontrons également une généralisation du théorème de Boyd-Lawton, affirmant que les mesures de Mahler multivariées peuvent être approximéess en utilisant les mesures de Mahler de dimension inférieure. Enfin, nous prouvons que la mesure de Mahler de Pd pour d arbitraire peut être écrite comme une combinaison linéaire de fonctions L associées à un caractère de Dirichlet primitif impair. Nous calculons finalement explicitement la représentation de la mesure de Mahler de Pd en termes de fonctions L, pour 1 ≤ d ≤ 6<br>In this thesis we investigate the sequence of Mahler measures of a family of bivariate regular exact polynomials, called Pd := P0≤i+j≤d xiyj , unbounded in both degree and the genus of the algebraic curve. We obtain a closed formula for the Mahler measure of Pd in termsof special values of the Bloch–Wigner dilogarithm. We approximate m(Pd), for 1 ≤ d ≤ 1000,with arbitrary precision using SageMath. Using 3 different methods we prove that the limitof the sequence of the Mahler measure of this family converges to 92π2 ζ(3). Moreover, we compute the asymptotic expansion of the Mahler measure of Pd which implies that the rate of the convergence is O(log dd2 ). We also prove a generalization of the theorem of the Boyd-Lawton which asserts that the multivariate Mahler measures can be approximated using the lower dimensional Mahler measures. Finally, we prove that the Mahler measure of Pd, for arbitrary d can be written as a linear combination of L-functions associated with an odd primitive Dirichlet character. In addition, we compute explicitly the representation of the Mahler measure of Pd in terms of L-functions, for 1 ≤ d ≤ 6

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Schram, Albert-George. "Gustav Mahler: Symphony No. 2 (C Minor) : a historical background and analysis /." Thesis, Connect to this title online; UW restricted, 1985. http://hdl.handle.net/1773/11327.

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Baker, Jeffrey T. "The Creation of a Performance Edition of Gustav Mahler's Lieder Und Gesänge Aus Der Jungendzeit and Its Role in Bass Tuba Pedagogy." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc177175/.

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When the tubist is first introduced to the bass tuba, Mahler's songs can be used as effective solo material. Through transcription, practice, and performance of art songs, novice bass tubists focus primarily on fundamental musical components such as tone quality, intonation, breathing, and musicianship. By identifying deficiencies in the current solo repertoire as related to the early stages of development on the bass tuba, I intend to address the need for more solo works through the transcription and performance of Mahler's Lieder und Gesänge aus der Jugendzeit.

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Fürbeth, Oliver. "Ton und Struktur : das Problem der Harmonik bei Gustav Mahler /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 1999. http://catalogue.bnf.fr/ark:/12148/cb37058828w.

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Rosti, Bernadette [Verfasser], Vera [Akademischer Betreuer] Mahler, and Vera [Gutachter] Mahler. "Sensitivität von Prick-Testungen mit Berücksichtigung des Ablesezeitpunktes bei Typ I-Allergie auf Beta-Lactam-Antibiotika / Bernadette Rosti ; Gutachter: Vera Mahler ; Betreuer: Vera Mahler." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2020. http://d-nb.info/1215343256/34.

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Mugmon, Matthew Steven. "The American Mahler: Musical Modernism and Transatlantic Networks, 1920-1960." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10894.

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By the 1960s, the music of Austrian composer Gustav Mahler had become an exceptionally--and enduringly--popular part of American concert life. But for much of the twentieth century, the place of Mahler's music in America's orchestral canon was passionately debated and not nearly so secure. This dissertation proposes that the growth of transatlantic modernism--in some ways a reaction to Mahler's Austro-German tradition--went hand in hand with the developing appreciation for Mahler's music in the United States between 1920 and 1960. This study focuses on the relationship between this new appreciation for Mahler in America and a network of four influential figures in transatlantic modernism: Nadia Boulanger, the French musician who taught a whole generation of prominent American modernist composers; Aaron Copland, who would become one of the most significant and outspoken figures in American modernism; Serge Koussevitzky, the celebrated conductor of the Boston Symphony Orchestra; and Leonard Bernstein, the composer and conductor most recognized for having popularized Mahler’s music. These figures shared their ideas on Mahler but also developed their own distinctive ones. This dissertation argues that between 1920, when Boulanger attended and wrote about a Mahler festival in Amsterdam, possibly her introduction to Mahler’s music, and 1960, when Bernstein led the New York Philharmonic in a celebration of the Mahler centenary, these four musicians played a significant role in shaping ideas about Mahler in America, and that they did so by placing Mahler in the specific contexts of their priorities as modernists. Methodologically, this study uses archival evidence to unite two strands of recent, significant musicological inquiry: the transnational history of American musical culture, and the transmission, reception, and circulation of music in interpersonal networks.<br>Music

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Randé, Bernard. "Equations fonctionnelles de Mahler et applications aux suites p-régulières." Bordeaux 1, 1992. https://tel.archives-ouvertes.fr/tel-01183330.

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Le concept de suite p-régulière, introduit par Allouche et Shallit, généralise celui de suite p-automatique. La série génératrice d'une telle suite est considérée, tantôt comme une série formelle, tantôt comme une fonction holomorphe (dans le cas complexe) ; elle vérifie une équation fonctionnelle linéaire, dite de Mahler. Ce travail étudie ces équations fonctionnelles de façon générale, pour les appliquer au cas particulier des suites p-régulières. Le cadre formel est celui des chapitres 1, 2 et 3. On y étudie certaines structures mahlériennes. Le chapitre 4 montre la transcendance des solutions non rationnelles, par l'étude de leurs singularités. On étend ainsi un résultat bien connu dans le cas automatique. Le chapitre 5, répondant à une question posée par Rubel, montre que, dans un cas, les solutions non rationnelles sont différentiellement transcendantes (ou hypertranscendantes). Le chapitre 7, reprenant des méthodes bien connues, s'appuie sur le chapitre 4 pour établir la transcendance des valeurs prises, s'intéressant ainsi à une question posée par Allouche et Shallit. Le chapitre 8 montre un résultat très partiel en direction d'une conjecture de Loxton et van der Poorten. Le chapitre 6 esquisse une étude dans le cas non linéaire.

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CHERRY, DANIEL E. "The Pedagogical and Performance Uses of Gustav Mahler's Lieder Transcribed for Trombone and Piano." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218466044.

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Rushing, Randal. "Gustav Mahler's Kindertotenlieder: Subject and Textual Choices and Alterations of the Friedrich Rückert Poems, A Lecture Recital Together with Three Recitals of Selected Works of F. Schubert, J. Offenbach, G. Finzi, and F. Mendelssohn." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3215/.

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The bulk of scholarly research and discussion of Mahler's Kindertotenlieder deals with musical concerns and analyses. This study explores the significance of Mahler's selection and use of the poetry of Friedrich Rückert and, in particular, the personal significance of the textual treatment to Mahler. A comparison of the original Rückert text with Mahler's and his textual alterations, as well as a literal translation of the text, is included. The results revealed through the process stated above provides the vocal performer of Gustav Mahler's Kindertotenlieder with a study and performance guide for the artist intent on a more complete textual understanding and delivery.

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Sun, Ai-Kuang. "A critical study of Arnold Schoenberg's chamber transcription of Gustav Mahler's Das Lied von Erde the three movements for tenor /." connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Aug2006/sun%5Fai-kuang/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.<br>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).

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Roos, Fredrica. "En kamp på liv och död : Livsåskådningen i Mahlers Uppståndelsesymfoni." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-194800.

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Abstract Roos, Fredrica: En kamp på liv och död. Livsåskådningen i Mahlers Uppståndelsesymfoni. C-uppsats i musikvetenskap, 60 hp. Uppsala 2012. Syftet med denna uppsats är att analysera livsåskådningen i Mahlers Uppståndelsesymfoni, d.v.s. hur existentiella frågeställningar om livet, döden och religionen kommer till uttryck i musiken, samt att utifrån detta härleda verket till Mahlers personlighet och religionsuppfattning. Studien utgår ifrån ett hermeneutiskt synsätt, där de mer konkreta metoderna är musikanalys samt en traditionellt historisk metod. För den musikaliska analysen av verket används i huvudsak Constantin Floros informationsrika formscheman i Gustav Mahler: The Symphonies samt flera betydande avsnitt ur Död og evighed i musikken 1890-1920 av Eva Maria Jensen. Vad gäller den del av studien som behandlar människan Mahler grundar den sig främst på Bruno Walters givande minnesanteckningar. Resultatet av denna undersökning visar att Mahler använder sig av flera musiktekniska grepp såsom särskilda motiv, teman och instrument för att skildra livet och döden men att han även genom symfonins satsuppbyggnad och stora känslospektrum gestaltar livets motsägelsefullhet. Det religiösa inslaget i verket befästs främst genom finalens textbudskap, vilket är en blandning av kristna och judiska idéer om än en av Mahler helt egen skapad vision. Symfonin speglar till stor del Mahlers personlighet och religionsuppfattning och då främst i form av dess många kontraster mellan det ljusa och det mörka samt dess sökande, strävande karaktär.

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Tamm, Niklas. "Titan? : Hör jag en roman eller bara musik?" Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1771.

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38

Patterson, Jason 1982. "The Adagio of Mahler's Ninth Symphony: A Schenkerian Analysis and Examination of the Farewell Story." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68028/.

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Mahler's Ninth Symphony, since its premier in 1912, has sparked much debate about its programmatic meaning. This thesis provides an in-depth analysis of the Adagio and an examination of the controversy of the farewell story. In the process of the analysis I have compared my findings to some of the important authors in Mahler's field such as Vera Micznik, Henry-Louis de La Grange, and Christopher Orlo Lewis. Some of the conclusions are that a closer investigation of the music is necessary and that the programmatic reading of the farewell story can be appropriate.

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Rushing, Randal. "Gustav Mahler's Kindertotenlieder subject and textual choices and alterations of the Friedrich Rückert poems : a lecture recital, together with three recitals of selected works of F. Schubert, J. Offenbach, F. Finzi, and F. Mendelssohn /." view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/%5F/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.<br>Accompanied by recitals: cassettes recorded June 24, 1996 and Dec. 8, 2000; compact disc recorded Mar. 11, 2002; videocassettes of Offenbach's The Tales of Hoffmann performed Dec. 8-9, 1995. Includes bibliographical references (p. 50-51).

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Mahler, Claudia. "Manfred Nowak: Einführung in das internationale Menschenrechtssystem / [rezensiert von] Claudia Mahler." Universität Potsdam, 2003. http://opus.kobv.de/ubp/volltexte/2011/5537/.

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Mahler, Claudia. "Theodor Schilling, Internationaler Menschenrechtsschutz, Universelles und europäischesRecht / [rezensiert von] Claudia Mahler." Universität Potsdam, 2005. http://opus.kobv.de/ubp/volltexte/2011/5610/.

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42

Samuels, Robert. "Semiotics and Mahler : analyses of musical signification in the sixth symphony." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319426.

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THIOLIERE, PHILIPPE. "Gustav mahler : de l'obsession et de la mort a la creativite." Dijon, 1994. http://www.theses.fr/1994DIJOM017.

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Doche, Christophe. "Mesures de Mahler et racines réelles de certaines familles de polynômes." Bordeaux 1, 2000. http://www.theses.fr/2000BOR10527.

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Mahler, Claudia. "K. Peter Fritzsche, Menschenrechte, Eine Einführung mit Dokumentationen / [rezensiert von] Claudia Mahler." Universität Potsdam, 2004. http://opus.kobv.de/ubp/volltexte/2011/5584/.

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Mahler, Miriam [Verfasser], and Chris [Akademischer Betreuer] Meier. "Synthese antiviral aktiver carbocyclischer Nucleosid- und Nucleotidanaloga / Miriam Mahler. Betreuer: Chris Meier." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2013. http://d-nb.info/1038789524/34.

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Mahler, Felix [Verfasser]. "Ultraschnelle Ladungsträger- und Gitterdynamik in GaN- und GaAs-basierten Übergittern / Felix Mahler." Berlin : Humboldt-Universität zu Berlin, 2021. http://d-nb.info/1232239739/34.

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48

Penteado, Ronaldo Alves. "O processo formal do primeiro movimento da Sinfonia n.3 de Mahler." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-24112014-113759/.

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Este trabalho tem como objetivo e se justifica por analisar o primeiro movimento da Sinfonia n. 3, de Mahler (1860-1911) sob a ótica da vertente teórica que considera a forma como processo, no tempo. Composta em 1895, esta peça apresenta uma combinação de processos harmônicos dilatados pelo uso do cromatismo, entradas sucessivas de elementos temáticos, passagens direcionadas por eventos com flutuações na densidade, textura, timbre e rítmica, o que resultou em certa dissolução nas fronteiras formais tradicionais. Para atingir tal meta, tem por base os conceitos de forma como processo segundo Schmalfeldt (2011); música como processo por Hasty (1997); e breves considerações acerca de filosofia do processo e devir, de acordo com Seibt (2013). De maneira complementar às nossas discussões acerca de forma como processo, o \"modelo\" de Forma Sonata se fundamenta em Hepokosky e Darcy (2006) e as funções formais da sentença, em Caplin (1998). Os gráficos de vozes condutoras schenkerianas são apresentados segundo Forte e Gilbert (1992), e Neumeyer e Tepping (1992); os cinco componentes da tonalidade, de acordo com Tymoczko (2011); aspectos de textura, rítmica e dinâmica têm por base as considerações apresentadas por Berry (1987), Erickson (1975), Kostka (2012) e Schoenberg (2008 [1967]); aspectos de cunho histórico se baseiam principalmente em Fischer (2011) e Liberman (2010). Na conclusão buscamos a inter-relação das questões históricas e as da análise musical, resgatando os principais aspectos de nossa análise processualmente baseada sob a luz de uma reflexão sobre as questões revelados.<br>This work aims to analyze the first movement of Mahler\'s 3rd Symphony from the perspective of Form as Process. Composed in 1895, this musical piece features a combination of expanded harmonic processes by use of chromaticism, thematic elements, and events with fluctuations in density, texture, timbre and rhythm, which results in some dissolution from formal boundaries. To achieve this goal, we have based on the concepts of Form as Process, according to Schmalfeldt (2011); Music as Process, according to Hasty (1997); and Process Philosophy and Becoming, according to Seibt (2013). Complementary to these ideas we present Sonata Form according to Hepokosky and Darcy (2006) and Sentence according to Caplin (1998). We also present concepts of these authors: Forte and Gilbert (1992) and Neumeyer and Tepping (1992), schenkerian analysis; Tymoczko (2011), Five Components of Tonality; Berry (1987), Erickson (1975), Kostka (2012) and Schoenberg (2008 [1967]), liquidation, aspects of texture, rhythm and dynamic; Fischer (2011) and Liberman (2010), historical perspective. At the conclusion we present reflections about our musical analysis and relate it to historical issues.

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Ehrhardt, Damien. "Musik- und Kulturtransfer um 1900: Zur Mahler- und Reger-Rezeption in Frankreich." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2017. https://ul.qucosa.de/id/qucosa%3A32319.

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In seinem Artikel zur Reger-Rezeption bei den französischen Organisten hat Pierre Guillot einen allmählich steigenden Antagonismus zwischen Frankreich und Deutschland während des Zeitraums 1870–1914 festgestellt. Dieser angeblich zu einem ‚musikalischen Protektionismus‘ führende Antagonismus stelle einen der Gründe für die schlechte Rezeptionslage Regers dar. Laut Guillot gebe die durch die Blüte der nationalen (Orgel-)Schule bedingte Befreiung vom Einfluss der Musik des Nachbarn eine andere Erklärung für diese Situation ab. Meines Erachtens ist das aber eine etwas verquere Sicht der Dinge. Einerseits bedeutet die Herausbildung einer nationalen Schule nicht unbedingt, dass man sich von der Musik der anderen Kulturen entfernt. Andererseits hat der preußisch-französische Krieg die Aneignung der deutschen Instrumentalkunst nicht unterbrochen, sondern – nach einer kurzen Latenzphase – sogar intensiviert, und zwar trotz der Gründung der ‚Société Nationale de Musique‘, welche unter dem nationalistischen Motto Ars Gallica als Katalysator für die Pflege französischer Instrumentalmusik fungierte.

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Olsson, Per-Henning. "Petterssons sjunde symfoni : en jämförelse mellan formen i Allan Petterssons symfoni nr 7 och Gustav Mahlers symfoni nr 9, sats 1." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-188814.

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Olsson, Per-Henning: Petterssons sjunde symfoni. En jämförelse mellan formen i Allan Petterssons Symfoni nr 7 och Gustav Mahlers Symfoni nr 9, sats I. D-uppsats i musikvetenskap, ht 2001. Institutionen för musikvetenskap, Uppsala universitet. Uppsatsen syftar till att belysa Allan Petterssons symfonikomponerande, med avseende på form. Detta görs genom en jämförelse mellan Pettersson och Gustav Mahler. Mahler tas ofta upp i samband med Pettersson, varför jag har funnit det intressant att undersöka relationen mellan tonsättarnas musik. I uppsatsen jämförs formen i Petterssons Symfoni nr 7 med formen i Mahlers Symfoni nr 9, sats I. I uppsatsen tecknas en bakgrund till Pettersson, och de båda verken presenteras översiktligt. I uppsatsens centrala kapitel, "Jämförelse", diskuteras och jämförs verkens form. Både Mahlers Symfoni nr 9, sats I och Petterssons Symfoni nr 7, har en form som är flertydig. Men flertydigheten innebär olika saker: Första satsen av Mahlers Symfoni nr 9 är dubbeltydig, den kan tolkas antingen som en dubbelvariation eller en sonatform, medan det i Petterssons Symfoni nr 7 till och med kan diskuteras vilka symfonins huvudavsnitt är. Om man jämför med formen i tidigare symfonier (av t.ex. Beethoven och Brahms), är ordningen i både Mahlers Symfoni nr 9, sats I, och Petterssons Symfoni nr 7 uppbruten. När Mahler skrev sin nionde symfoni var vanligen första satsen i sonatform, och dubbeltydigheten var kanske för honom ett sätt att skriva någonting nytt. Pettersson har till och med uttryckt tanken om en ny form: "No one in the 50's noticed that I am always breaking up the structures, that I was creating a whole new symphonic form". Det är svårt att enkelt beskriva formen i Petterssons Symfoni nr 7. Formen är upplöst, tonsättaren har "brutit upp strukturerna". Men det går att även i Petterssons Symfoni nr 7 se spår av sonatformen. Avsnitt av Petterssons symfoni fyller samma funktion som delar av sonatformen. Och man kan hitta grundläggande idéer (något som kan kallas "formfunktioner") från sonatformen: en polarisering etableras i början, den intensifieras i mitten, och upplöses i slutet. Hos Mahler finns sonatformen kvar, men satsen kan även tolkas som en dubbelvariation. Hos Pettersson är det inte lika tydligt, men sonatformen finns kvar i form av "formfunktioner", grundläggande idéer.

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