Khuddur Yātrā: a Symphonic Poem of Texts and Images by Elizaveta Ilves

“…Following Bachtin, who proposed to analyze literary work by using the musical concept of polyphony metaphorically, the author argues that the concept of symphonic poems provides the best way to approach the complexity of text-image congruencies in this work. …”
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Program, Tonality, and Sonata Deformation in Leopoldo Miguéz’s Symphonic Poems by Norton Dudeque

“… The aim of this text is to address Leopoldo Miguéz (1850–1902) approach to sonata form in his three symphonic poems. Each one of these works presents a different approach to the rhetorical musical discourse of sonata form and a specific “deformation” of the form. …”
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Archetypal symbols in the symphonic poem The Sea by Mikalojus Konstantinas Čiurlionis by Martina Štěpánová, David Kozel

“…The study has the objective to newly interpret the symphonic poem Jūra in the context of archetypal symbolism.…”
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Music and the perception of the mountains through the symphonic poems of Liszt, Franck and Strauss by Adrià San José Plana, Jordi Martí-Henneberg, Justino Losada Gómez

“…This is a process that began and was developed in Europe in the course of the 19th century.To do so, we propose a study of the symphonic poems entitled “Ce qu’on entend sur la montagne” by César Franck (1822-1890) and Franz Liszt (1811-1866), and “Eine Alpensinfonie”, by Richard Strauss (1864 – 1949). …”
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Beyond Sonata Deformation: Liszt’s Symphonic Poem Tasso and the Concept of Two-Dimensional Sonata Form by Steven Vande Moortele

“…In his seminal 1855 essay Berlioz und seine Harold-Symphonie- a thinly disguised apology for his own symphonic poems- Liszt defends the formal innovations in contemporaneous orchestral music by invoking its programmatic nature. …”
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El cultivo de la música docta en Chile como una práctica histórico-social. La comunicación, circulación y recepción de tres obras sinfónicas pioneras en dos espacios institucionale... by Luis Merino Montero

“…The purpose of this article is the discussion of two pioneer orchestral works written by Enrique Soro (1884-1954) (Grand Concerto in D major for piano and orchestra, 1918; and Grand Romantic Symphony in A major, 1921) and one by Luigi Stefano Giarda (1868-1952) (Beyond Death, symphonic poem, op. 131, 1922), in terms of their communication, circulation and reception during two consecutive periods of the history of Chilean music, spanning between 1918-1923 and 1928-1950, within the framework of power as handled by music institutions. …”
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Uncovering the Stylistic Traits of Romantic Leopoldo Miguéz by Desirée Mayr

“…Leopoldo Miguéz (1850–1902) was a pioneer of absolute music in Brazil, composing the first Brazilian symphony, symphonic poem, violin sonata, and nocturne. Despite his prominent position in historical accounts of the late-nineteenth century in the country, his music has received little analytical attention to date due to its lack of Brazilian elements. …”
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Comparative Analysis of the III. Movement of Cemal Reşit Rey’s Work “the Legend of Bebek” with Turkish Folk Song “Bebek Ninni” / Cemal Reşit Rey’in “Bebek Efsanesi” Eserinin III.... by Önder Özkoç

“…He composed “Bebek Efsanesi (Baby Legend)” symphonic poem in 1928 on baby narrative in Turkish Folk Culture and used many folk songs in this music. …”
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CAMILLE SAINT-SAËNS’S CONCEPT OF “VIOLIN CONCERTO” by Cătălina GUŢANU

“…The syntheses of classical and romantic principles, as well as the inclination towards symphonic poems and monothematic structures are specific features of Saint-Saëns’s ample creations. …”
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CAMILLE SAINT-SAËNS’S CONCEPT OF “VIOLIN CONCERTO” by Cătălina GUŢANU

“…The syntheses of classical and romantic principles, as well as the inclination towards symphonic poems and monothematic structures are specific features of Saint-Saëns’s ample creations. …”
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Franz Liszt’s Early Formal Excursions by Heyner Francisco Rodriguez Solis

“…Most of his mature sonatas are constructed following this structure’s principles (e.g., the Piano Concertos in E-flat, S. 124, and in A, S. 125; the Piano Sonata in b, S. 178; and the symphonic poems Ce qu’on entend sur la montagne, S. 95, Tasso: Lamento e Trionfo, S. 96, Les preludes, S. 97, and Die Ideale, S. 106). …”
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