Michael CoghlanLana Forman2025-07-232025-07-232025-05-132025-07-23https://hdl.handle.net/10315/43059This dissertation explores Sofia Gubaidulina’s artistic vision of music as a spiritual and transformative sanctuary, akin to the creation of a grand architectural masterpiece. The composer’s metaphor of the “cathedral of sound” encapsulates Gubaidulina’s compositional philosophy, where each work serves as an effort to foster a harmonious and transcendental realm that invites listeners into a space of contemplation and spiritual elevation. We argue that this concept challenges the conventional pursuit of novelty that dominated much of twentieth-century music, positioning her compositions as a reimagining of traditional forms rooted in a personal, deeply spiritual vision. Our study examines Gubaidulina’s redefinition of the boundaries of concerto forms, revealing how the composer blends contemporary practices with the traditions of Western art music. Central to our discussion are her ecumenical understanding of Orthodox Christianity, her philosophically-infused musical concepts of transfiguration and shadow and light, and her use of various symbolic devices – literary, name-based, and those related to peculiar geometric shapes and numbers. These elements are argued to coexist with the reimagined traditional frameworks of sonata, variations, ritornello, ternary, and various sectional forms. Further, the dissertation explores Gubaidulina’s conception of form as a journey full of metaphors and symbols, particularly focusing on the symbol of the cross, which holds profound significance for the composer. This dissertation is the first scholarly work to apply Gubaidulina’s theory of the Rhythm of Form in a practical analysis of three of her concertos. By examining the scores, sketches, and drafts preserved at the Paul Sacher Foundation in Basel, Switzerland, this study offers an intimate look into Gubaidulina’s creative process. The analysis of Revue Music/Concerto for Two Orchestras, Jazz and Symphony, Viola Concerto, and In the Shadow of the Tree reveals how Gubaidulina shapes her music using mathematical proportions derived from Fibonacci and Fibonacci-related sequences. These works exemplify her historically progressing architectural approach to form, where each piece embodies a blend of aesthetic beauty and precise, deliberate design. The study also demonstrates how “magic” numbers influence not only the formal structure but also thematic, timbral, and textural development, creating a complex and symbolic framework within each composition. Key words: Sofia Gubaidulina, Concertos, Music History and Analysis, Rhythm of FormAuthor owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.MusicEuropean studiesPhilosophyElectronic Thesis or Dissertation2025-07-23Sofia Gubaidulina's Compositional Philosophy; Reimagining of Traditional Concerted Forms; MusicMetaphorsand Symbols; Rhythm of Form Concept.