MARC 主機 00000nam  2200301   4500 
001    AAI3400562 
005    20101022140825.5 
008    101022s2010    ||||||||||||||||| ||eng d 
020    9781109673937 
035    (UMI)AAI3400562 
040    UMI|cUMI 
100 1  Berard, Jesus Manuel 
245 10 Major-minor relations in the music of Gustav Mahler: Song 
       cycles and selected Lieder 
300    461 p 
500    Source: Dissertation Abstracts International, Volume: 71-
       03, Section: A, page: 0761 
500    Adviser: Fred Lerdahl 
502    Thesis (Ph.D.)--Columbia University, 2010 
520    This analytical study focuses upon Mahler's vocal music as
       a core of his compositional output. Using selected 
       representative examples from his Lieder, song cycles and 
       symphonic vocal movements, the author explores the 
       critical role of major-minor relations in these works as 
       intrinsic elements of Mahler's musical language. Such 
       modal relations in the vocal works are not only closely 
       associated with his texts as mimetic devices, as well as 
       larger hermeneutic considerations, but are vital elements 
       of his musical syntax and tonal structure on different 
       levels, ranging from local harmonic shifts and 
       progressions, modal mixtures and tonal inflections within 
       phrases and longer passages, and relationships between 
       adjacent and successive key regions, to the overarching 
       tonal structure of entire songs, movements and even multi-
       movement works. The variety of major-minor relations 
       Mahler employs over the course of his output is 
       considerable, including not just parallel major-minor, but
       other relationships involving mode change, such as 
       relative and chromatic mediants, half-step "Neapolitan" 
       relations, and opposite-mode relations based on other 
       intervals. Arguing for the historical and theoretical 
       relevance of Schoenberg's harmonic and tonal concepts to 
       Mahler's music, the author takes aspects of Schoenberg's 
       theories concerning modal interchange and mixture, key 
       relationships (and their symbols), and his well-known 
       Chart of Regions, as points of departure for his analyses.
       Schoenberg's ideas are supplemented by the author's own 
       analytical intuitions and by aspects of Fred Lerdahl's 
       recent theoretical models of tonal relations, distances 
       and pitch spaces, and some correlations are made with 
       aspects of neo-Riemannian transformational theory, 
       particularly recent work of David Kopp. The author guides 
       the reader through each work in relative detail through 
       numerous annotated score reductions, gradually working 
       toward more comprehensive views of major-minor relations 
       in each piece, as illustrated in his diagrams. Though 
       Mahler's tonal ranges and major-minor relations vary 
       widely from one work to the next, as his compositional 
       career unfolds, his larger tonal spaces and his inventory 
       of major-minor relations become more extended and complex 
590    School code: 0054 
650  4 Music 
690    0413 
710 2  Columbia University 
773 0  |tDissertation Abstracts International|g71-03A 
856 40 |u