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Tesi sul tema "Music Germany History and criticism"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 19 febbraio 2022

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1

Johnston, Gregory Scott. "Protestant funeral music and rhetoric in seventeenth-century Germany : a musical-rhetorical examination of the printed sources." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27359.

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Abstract (sommario):

The present thesis is an investigation into the musical rhetoric of Protestant funeral music in seventeenth-century Germany. The study begins with an exposition on the present state of musicological inquiry into occasional music in the Baroque, focusing primarily on ad hoc funeral music. Because funeral music is not discussed in any of the basic music reference works, a cursory overview of existing critical studies is included. The survey of this literature is followed by a brief discussion of methodological obstacles and procedure with regard to the present study. Chapter Two comprises a gen

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2

Schuppener, James Gregory. "Felix Mendelssohn-Bartholdy, director of music for the Berlin Court: Influences upon his unaccompanied compositions written for the Berlin "Domchor"." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185735.

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This study discusses Felix Mendelssohn-Bartholdy's appointment to the Prussian Court of King Friedrich Wilhelm IV, Mendelssohn's relationship with the Court (both personal and professional) and the numerous difficulties encountered with this appointment. In addition, Mendelssohn's musical responsibilities and personal feelings toward the cities of Leipzig and Berlin, Berlin's choral traditions (including a brief history of the Berlin Domchor) will also be discussed. Mendelssohn's op. 78, op. 79 and Die deutsche Liturgie written for the Berlin Domchor reflect the sometimes competing demands of

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3

Jang, Laurie. "Music's debt : a study of poetic influence in mid-eighteenth century German instrumental music." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28075.

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The aim of this study is to examine the correspondences of style, technique and aesthetic in poetry and music as it pertains to the musical thought and works of composers centered in Berlin 1740-1760. With the trend toward rational enquiry, the re-affirmation of the Aristotelian theory of imitation, and a return to the ideal of a union of the arts, 18th-century theorists and composers were once again preoccupied with the consanguinity of the "sister" arts of poetry and music. In particular, analogies were made between their materials of expression and the methods by which they achieved their u

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4

Rusak, Helen Kathryn. "Rhetoric and the motet passion." Title page, table of contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armr949.pdf.

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5

Templeton, Inez H. "What's so German about it? : cultural identity in the Berlin hip hop scene." Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/75.

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Literature on the appropriation of hip hop culture outside of the United States maintains that hip hop engenders local interpretations no longer reliant on African-American origins, and this research project is an attempt to determine the extent to which this is the case in a specific local context. My thesis is an effort to move beyond the rhetoric of much of what constitutes the debates surrounding globalisation, by employing a research strategy combining theoretical analysis and direct engagement with the Berlin hip hop scene. My project not only aims to uncover the meanings young people in

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6

Dobbs, Benjamin Michael. "Gewesener Magdeburgische Musicus: An Examination into the Stylistic Characteristics of Heinrich Grimm's Eight-Voice Motet, Unser Leben Wehret Siebenzig Jahr'." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33142/.

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Although Magdeburg cantor Heinrich Grimm was frequently listed among prominent musical figures of the early seventeenth century such as Heinrich Schütz, Johann Hermann Schein, and Michael Praetorius in music lexica through the nineteenth century, he has almost disappeared from modern scholarship. However, a resurgence in Grimm studies has begun in recent years, especially in the areas of biographical study and compositional output. In this study, I examine the yet unexplored music-analytic perspective by investigating the stylistic characteristics of Grimm's 1631 motet, Unser Leben wehret sieb

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7

Siddiqui, Tashmeen Monique. "Jews against Wagner : the 1929 Krolloper production of Wagner's Der fliegende Holländer." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669985.

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8

Gentry, Jonathan C. "Memory and hypnotism in Wagner's musical discourse." PDXScholar, 2007. https://pdxscholar.library.pdx.edu/open_access_etds/3660.

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A rich relationship unites the composer Richard Wagner (1813-1883) and the history of psychology, especially if one considers his attempt to make music speak with the clarity of verbal language. Wagner's musical discourse participated in the development of psychology in the nineteenth century in three distinct areas. First, Wagner shared in the non-reductive materialist discourse on mind that characterized many of the thinkers who made psychology into an autonomous intellectual pursuit. Second, Wagner's theories and theatrical productions directly influenced two important psychologists - Fried

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9

Nedvin, Brian. "Holocaust Song Literature: Expressing the Human Experiences and Emotions of the Holocaust through Song Literature, Focusing on Song Literature of Hirsh Glick, Mordechai Gebirtig, and Simon Sargon." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4850/.

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During the years of the Holocaust, song literature was needed to fulfill the unique needs of people caught in an unimaginable nightmare. The twelve years between 1933 and 1945 were filled with a brutal display of man's inhumanity to man. Despite the horrific conditions or perhaps because of them, the Jewish people made music, and in particular, they sang. Whether built on a new or an old melody, the Holocaust song literature continues to speak to those of us who are willing to listen. This body of work tells the world that these people lived, suffered, longed for vengeance, loved, dreamed,

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10

Wolfinbarger, Steve M. "The Nineteenth-Century German Tradition of Solo Trombone Playing: A Lecture Recital, Together with Three Recitals of Selected Works of E. Bozza, W. Hartley, A. Frackenpohl, A. Pryor. G. Frescobaldi. L. Grondahl, P. Bonneau and Others." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331705/.

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This study deals with trombone soloists and music of nineteenth-century Germany. Much of the discussion is based on the influence of two trombone virtuosos, Carl Traugott Queisser (1800-1846) and Friedrich August Belcke (1795- 1874) . Finally, a style and form analysis is given of several representative trombone compositions of the period. These include Ferdinand David's Concertino. Op. 4, Friedebald Grafe's Concerto. and Josef Serafin Alschausky's Concerto No. I.

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11

Kirilov, Kalin Stanchev. "Harmony in Bulgarian Music." Thesis, University of Oregon, 2007. http://hdl.handle.net/1794/13533.

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555 pages<br>This study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date h

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12

Rockhill, Paul Hunter. "The Reception Theory of Hans Robert Jauss: Theory and Application." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5153.

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Hans Robert Jauss is a professor of literary criticism and romance philology at the University of Constance in Germany. Jauss co-founded the University of Constance and the Constance group of literary studies. Hans Robert Jauss's version of reception theory was introduced in the late 1960s, a period of social, political, and intellectual instability in West Germany. Jauss's reception theory focused on the reader rather than the author or text. The original reception of a text was compared to a later reception, revealing different literary receptions and their evolution. Jauss's Rezeptionsgesch

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13

Ram, Deepak. "A portfolio of original compositions exploring syncretism between Indian and western music." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002320.

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In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists

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14

Bell, Daniel Michaels. "The saxophone in Germany, 1924-1935." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/290020.

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This document presents a holistic view of the saxophone in Germany from 1924 to 1935. A "wide field" view is presented in order to examine the saxophone within its social and historical contexts. Chapter One contains a general political and cultural history of Germany and a description of the saxophone in Germany before 1924. Chapter Two offers a definition of jazz in Germany and surveys the music's prominent saxophonists. Chapter Three documents and interprets portrayals of the saxophone in literature, art, and the press that might clarify its position within German society at the time. The i

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15

Parkes, Henry Richard Maclay. "Liturgy and music in Ottonian Mainz, 950-1025." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283895.

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16

zur, Loye Tobias Percival 1985. "History of a Natural History: Max Ernst's Histoire Naturelle, Frottage, and Surrealist Automatism." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10700.

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x, 144 p. :　ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>When André Breton released his Manifesto of Surrealism in 1924, he established the pursuit of psychic automatism as Surrealism's principle objective, and a debate concerning the legitimacy or possibility of Surrealist visual art ensued. In response to this skepticism, Max Ernst embraced automatism and developed a new technique, which he called frottage , in an attempt to satisfy Breton's call for automatic activity, and in 1926, a collection

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17

Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

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Abstract (sommario):

French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.

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18

Magerski, Christine 1969. "The constitution of the literary field in Germany after 1871 : Berlin modernism, literary criticism and the beginnings of the sociology of literature." Monash University, German Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8724.

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19

Hambridge, Katherine Grace. "The performance of history : music, identity and politics in Berlin, 1800-1815." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283937.

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20

Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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21

Sarmast, Ahmad Naser. "A survey of the history of music in Afghanistan, from ancient times to 2000 A.D., with special reference to art music from c.1000 A.D." Monash University, School of Music-Conservatorium, 2004. http://arrow.monash.edu.au/hdl/1959.1/9685.

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22

Fronius, Helen. "The diligent dilettante : women writers in Germany, 1770-1820." Thesis, University of Oxford, 2003. http://ora.ox.ac.uk/objects/uuid:d95009fe-e8ea-4bcf-b520-29f2e9e849b5.

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The thesis sets out to explain the presence of women writers in the book market of the late eighteenth and early nineteenth centuries. In order to do so, it examines the position of women writers in Germany - in the context both of their discursive and of their social reality. The thesis investigates the ideological and material background for women's writing, by exploring the areas of gender ideology, contemporary concepts of authorship, women's reading, and the literary market. The final chapter examines women's freedom of expression in different public circumstances. The thesis argues that

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23

Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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24

Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.

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25

Schmitz, Michael David. "Oriental influences in the piano music of Claude Achille Debussy." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187118.

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This paper explores the influences of Vietnamese and Indonesian music in the piano compositions of Claude Debussy. A brief background of Debussy's formative years and of pertinent social trends in Paris at the turn-of-the-century is provided. This paper then looks at two specific musical events that affected the way Debussy composed for the piano: the Javanese and Annamite exhibits at the Exposition Universelles de 1889 and 1900 in Paris. The musical styles and timbres of these two countries are explored, backed up by accounts of what Debussy actually experienced at the Expositions. Following

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26

Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.

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27

Brennan, Matthew. "Down beats and rolling stones : an historical comparison of American jazz and rock journalism." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/222.

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Abstract (sommario):

Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discurs

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28

Chapman, Christopher Adam 1964. "Regional traditions of Lao vocal music : lam siphandon and khap ngeum." Monash University, School of Music-Conservatorium, 2002. http://arrow.monash.edu.au/hdl/1959.1/7867.

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29

Peter, Timothy Layne. "Johann Mattheson's "Das Lied des Lammes": Progressive tendencies in the evangelist recitatives." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186414.

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This document examines the compositional style of Johann Mattheson's passion, Das Lied des Lammes. Specifically, this document will examine the stile recitativo of Italian opera seria in Hamburg during Mattheson's years at the Domkirche. Mattheson's ideas regarding the role of the recitative in his passions are verified in Mattheson's article entitled "Des fragenden Componist" (1724), which appeared in the fifth volume of his journal Critica Musica, thus giving clear evidence supporting a non-emotional approach with the evangelist recitatives. These new approaches found in Critica Musica, deri

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30

Matambo, Lotta Eleonoora. "The solo piano music of Einojuhani Rautavaara." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002311.

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Einojuhani Rautavaara's oeuvre is characterised by four distinctive creative periods, each demonstrating a remarkable variety of compositional idioms and styles. His application of multifaceted elements, often within a single work leading to notions of postmodernism, is derived from multifarious sources, such as (Finnish) folklore, Orthodox mysticism and a wide variety of standard twentieth century compositional techniques. Furthermore, Rautavaara regularly quotes from his own material, thus creating elements of auto-allusions within his oeuvre; a predisposition which forms an essential part o

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31

Burns, Kristine Helen. "The history and development of algorithms in music composition, 1957-1993." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902512.

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This dissertation traces the history and development of algorithms in musical composition from ca. 1957 to 1993 and attempts to clarify related terminology from the contexts of computer science, information science, and music theory and composition.The first of three sections begins with an extensive definition of the term algorithm. Because this term is relatively new to musical vocabulary, the definition appearing in this dissertation will include both musical and non-musical applications.Historically and currently, there are three major approaches to algorithmic composition with computers:

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32

Card, Patricia Pierce. "The influence of klezmer on twentieth-century solo and chamber concert music for clarinet with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others /." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/card%5Fpatricia/index.htm.

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33

Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.

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34

Rhodes, Carol Shirley. "The dance of time: The evolution of the structural aesthetics of the prepared piano works of John Cage." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187153.

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John Cage, (1912-1992) pioneer in new music, innovator, inventor of the happening and philosopher, writer and artist was one of the most creative forces of the twentieth century. His earliest works were 25-tone contrapuntal compositions. He later developed a strong interest in writing for percussion ensembles and collected instruments that were both found and made. He conducted his own percussion orchestras and discovered that they were the answer to his philosophy of the sounds of the future. He considered percussion music the transition from keyboard-influenced music to music which allowed f

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35

Ryan, Robin Ann 1946. ""A spiritual sound, a lonely sound" : leaf music of Southeastern aboriginal Australians, 1890s-1990s." Monash University, Dept. of Music, 1999. http://arrow.monash.edu.au/hdl/1959.1/8584.

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36

Smith, David John. "The instrumental music of Peter Philips : its sources, dissemination and style." Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:d1af3140-2553-4f58-8437-a1eee66d7f13.

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There are fifty-one instrumental pieces by Philips, many of which occur in versions for ensemble, keyboard and lute. The sources have a wide geographical and chronological span. This research is based upon an extensive first-hand examination of the sources of Philips's instrumental music, and a detailed comparative study of the textual variants of each piece. The thesis divides into three parts. In the first, a biographical chapter relates Philips's instrumental music to the changing nature of his employment. Then the main sources of his instrumental music, the manuscripts copied by Francis Tr

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37

Vendrix, Philippe Pierre 1964. "Quelques aspects de l'historiographie musicale en France a l'epoque baroque (French text)." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276706.

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L'historiographie musicale trouve dans la France de l'epoque baroque un champ ideal de developpement. Ce phenomene est lie a la conjonction de differents facteurs: le modele fourni par l'histoire generale, l'heritage humaniste, les mouvements polemiques, les tentatives de refonte de l'histoire de l'Eglise. Les musicographes, de Salomon de Caus (1615) a Jacques Bonnet-Bourdelot (1715), etablissent les fondements d'une critique historique et l'appliquent dans des ouvrages qui annoncent l'expansion de la musicologie a l'age des Lumieres.

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38

West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.

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39

Baquet, N. Eugene. "Blues Story: Narratives of Cultural Identity." Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/BaquetNE2006.pdf.

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40

Hausfeld, Gretchen Gayle. "The treatment of the bassoon in three chamber works of Igor Stravinsky." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186265.

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This document examines Stravinsky's treatment and use of the bassoon in three of his chamber works: L'Histoire du Soldat, Octet, and Septet. The research contained within will, in part, assess the extent to which Stravinsky has affected the development of the bassoon's role in a chamber ensemble, and will provide a general evaluation of his varied treatment of the bassoon in terms of technique, range, articulation, and ensemble. Another aspect of this study considers the possibility that Stravinsky wrote for the French system bassoon. A comparison of the two types of bassoon systems will demon

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41

Dube, Michelle Claire. "Prelude of Suite V for cello solo by J. S. Bach: Options for performance." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186392.

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There exists no autograph manuscript for the six suites for solo violoncello by J. S. Bach. Three manuscript copies of the suites by Anna Magdelena Bach, J. J. H. Westphal, and J. P. Kellner are available but vary in many aspects including pitches, slur markings, and scordatura tuning. These differences make it difficult for the cellist to determine what most accurately displays Bach' s intentions for performance. A version of Suite V for the lute survives in its original manuscript form by J. S. Bach. Although much of the version is not playable on the cello, due to the lute's many strings, s

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42

James, Douglas Goff. "Luigi Rinaldo Legnani: His life and position in European music of the early nineteenth century, with an annotated performance edition of selections from 36 Capricci per Tutti I Tuoni Maggiori E Minori, Opus 20." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186632.

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Abstract (sommario):

Luigi Legnani (1790-1877) was an important guitarist/composer of the early nineteenth century Italian Romantic school. In addition, he was also a highly skilled singer, violinist, and luthier. Legnani's guitar compositions represent the logical next step after Giuliani; fully evocative of the operatic vocal style characterized by Rossini, and technically adventurous in much the way Paganini's compositions were for the violin, although not to the same degree. His contributions to guitar literature form an important link in the chain of compositional and technical development during the nineteen

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43

Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.

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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, <i>voix de ville</i>, dialogue, and <i>air de cour</i>. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including

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44

Nercessian, Andy Hagop. "Marxism-Leninism, national identity, and the perception of Armenian music." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619554.

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45

Anderson, Ellis T. II. "The Reception of Franz Joseph Haydn in Austria and Germany 1798-1830: Biography and Criticism." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115997037.

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46

Keightley, Keir. "The history and exegesis of pop : reading "All summer long"." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22458.

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The study of popular music has experienced an astonishing growth in the past two and a half decades; however, the detailed analysis of musical texts has lagged far behind other areas, such as the sociology of the youth audience and analysis of the visual components of music video. This thesis undertakes a survey of recent approaches to popular music at the textual level, before examining the construction of an individual song, the Beach Boys' 1964 recording of "All Summer Long". While many parameters affecting the creation of the cultural significance of the text in question are discussed, ult

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47

Perry, Shirley Mercedes. "Selected Psalms, Old Verses and Spiritual Songs of the Canadian Doukhobors: Transcription and musical analysis." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185897.

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Abstract (sommario):

The purpose of this research was to select songs specific to the Doukhobor song repertoire which were not previously notated and to record, notate and analyze the melodies for use in music education. The first limitation of the study was to focus on the sacred repertoire which is comprised of three genre of song, namely the Psalms, the Old Verses and the Spiritual Songs. A comparison of the song titles of Old Verses and Spiritual Songs which are found in the two major Canadian Doukhobor song text collections was made with other Russian song text collections to determine a subset of songs uniqu

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48

Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.

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Abstract (sommario):

In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the develo

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49

Igo, William Scott. "Gerhart Hauptmann: Germany throught the Eyes of the Artist." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277987/.

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Abstract (sommario):

Born in 1862, Gerhart Hauptmann witnessed the creation of the German Empire, the Great War, the Weimar Republic, the Third Reich, and World War II before his death in 1946. Through his works as Germany's premier playwright, Hauptmann traces and exemplifies Germany's social, cultural, and political history during the late-nineteenth to mid-twentieth centuries, and comments on the social and political climate of each era. Hauptmann wrote more than forty plays, twenty novels, hundreds of poems, and numerous journal articles that reveal his ideas on politics and society. His ideas are reinforced i

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50

Linekin, Kim. "The modern popular song as a literary art form." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.

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