In 1824, Schubert composed Octet in F Major, D.803, op. 166, for clarinet, bassoon, horn, 2 violins, viola, cello and double bass. The Octet comprises six movements and lasts approximately an hour. The work represents the pinnacle of the genre in the nineteenth century. The purpose of this dissertation is to provide important resources needed for a cohesive and informed interpretation of Schubert's Octet. The historical perspectives, which include discussion of Beethoven's influence and the genesis of the Octet, provide the context from which to discuss the Octet's musical language and performance practice. In turn, the analysis of its musical language informs the expressive opportunities as well as raises awareness to some performance considerations. The analysis focuses on Schubert's thematic and harmonic procedures, and explores the musical elements, such as the cyclic motif with which Schubert unites the piece. The dissertation also addresses revisions in the first publication, general editorial issues and discrepancies among the different editions. Finally, the dissertation concludes with an investigation of the performance practice through examination of recordings, and research into the nineteenth-century performance practice.

Examines the history of musical self-quotation, and reveals and explores a previously unidentified case of Schubert quoting one of his own songs in a major instrumental work.

Born just a few years after Mozart died, Franz Schubert had a lot in common with the famous composer. Schubert was also a gifted child who astonished adults with his musical ability. As a teen, Schubert was taught by one of Mozart's rivals. And like Mozart, Schubert's life ended prematurely and was filled with struggle. Still, while Mozart was celebrated across Europe, Schubert was almost completely unknown until just a few years before his death. The challenges of Schubert's life inspired his art—music which is today performed across the world. Schubert's life, his challenges, and his compositions are all reasons he is considered one of the greatest composers.

This collection of articles clarifies problems of style and chronology in the music Schubert composed during the last decade of his life.

A Concise Survey of Music Philosophy helps music students choose a philosophy that will guide them throughout their careers. The book is divided into three sections: central issues that any music philosophy ought to consider (e.g., beauty, emotion, and aesthetics); secondly, significant philosophical positions, exploring what major thinkers have had to say on the subject; and finally, opportunities for students to consider the ramifications of these ideas for themselves. Throughout the book, students are encouraged to make choices that will inform a philosophy of music and music education with which they are most comfortable to align. Frequently, music philosophy courses are taught in such a way that the teacher, as well as the textbook used, promotes a particular viewpoint. A Concise Survey of Music Philosophy presents the most current, prevalent philosophies for consideration. Students think through different issues and consider practical applications. There are numerous musical examples, each with links from the author’s home website to online video performances. Examples are largely from the Western classical canon, but also jazz, popular, and world music styles. In the last two chapters, students apply their views to practical situations and learn the differences between philosophy and advocacy. "Hodges has written an excellent resource for those wanting a short—but meaningful—introduction to the major concepts in music philosophy. Applicable to a number of courses in the music curriculum, this much-needed book is both accessible and flexible, containing musical examples, tables and diagrams, and additional readings that make it particularly useful for a student's general introduction to the topic. I especially like the emphasis on the personal development of a philosophical position, which makes the material especially meaningful for the student of music." —Peter R. Webster, Scholar-in-Residence, Thornton School of Music, University of Southern California, USA