Nikolay Rimsky-Korsakov and Gustav Mahler utilize similar compositional techniques in their symphonic works but employ them in different ways. Mahler and Rimsky-Korsakov utilize compositional devices including, but not limited to, fragmentation, repetition, expansion, contraction, imitation, and inversion. This comparative analysis examines Rimsky-Korsakov’s Symphony No. 3, first movement and Mahler’s Symphony No. 4, first movement. The analysis also provides an insight on how development of themes and motives fit within the structure of the sonata form derived from the late classical era throughout the romantic era of music to show a framework for how themes and motives develop throughout the opening movements of both symphonic works utilizing compositional devices. Keywords: Nikolay Rimsky-Korsakov’s Symphony No. 3, Gustav Mahler’s Symphony No. 4, Compositional Devices, Compositional Techniques, Thematic Development, Motivic Development, Sonata Form, Romantic Music. Megan K. Denslinger, M.A. Department of Music, 2021 Radford University

Following the earlier volumes in the Studies in Musical Genesis and Structure series, Mahler's Fourth Symphony is a study of origins of one of Mahler's most popular and accessible works. James Zychowicz examines how the composition evolved from the earliest ideas to the finished score, and in doing so sheds new light on Mahler's working process.

"Though widely recognized as a key figure of twentieth-century modernism, Gustav Mahler (1860-1911) frequently references classical compositional techniques in many of his symphonic works. In particular, countless authors have observed the prominent classical elements of Symphony No. 4, which are especially notable in its first movement. While a formal analysis of this opening movement does reveal similarities between Mahler's organization and classical structural norms, it also uncovers many compositional strategies that are more characteristic of late-romanticism. For instance, whereas many analyze this movement as a typical first-movement sonata form, its tonal and formal organization more closely resembles that of a sonata-rondo (though this form is typically reserved for finales and the occasional slow movement). Additionally, Mahler plays with his listeners' expectations by incorporating several formal ambiguities that call into question the passages' true functional roles. This thesis presents a form-functional analysis of the first movement from Mahler's Symphony No. 4 with the goal of revealing the similarities and dissimilarities between its formal organization and that of classical works. The theoretical work of William E. Caplin informs the analytical methodology of this project, which centers primarily on an examination of formal functions, allowing for the consideration of musical syntax on various hierarchical levels. Ultimately, this project relies on the comparison of typical form-functional organization in classical instrumental works to the events of Mahler's movement with the aim of uncovering his predecessors' influence on the symphony while also revealing the work's relationship to the music of its time." --

Theodor W. Adorno goes beyond conventional thematic analysis to gain a more complete understanding of Mahler's music through his character, his social and philosophical background, and his moment in musical history. Adorno examines the composer's works as a continuous and unified development that began with his childhood response to the marches and folk tunes of his native Bohemia. Since its appearance in 1960 in German, Mahler has established itself as a classic of musical interpretation. Now available in English, the work is presented here in a translation that captures the stylistic brilliance of the original. Theodor W. Adorno (1903-69), one of the foremost members of the Frankfurt school of critical theory, studied with Alban Berg in Vienna during the late twenties, and was later the director of the Institute of Social Research at the University of Frankfurt from 1956 until his death. His works include Aesthectic Theory, Introduction to the Sociology of Music, The Jargon of Authenticity, Prism, and Philosophy of Modern Music.