Relevant bibliographies by topics / Franz Schubert, Dramatic music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Franz Schubert, Dramatic music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Franz Schubert, Dramatic music"

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Lee, M. Owen. "Fierrabras. Franz Schubert." Opera Quarterly 8, no. 2 (1991): 179–81. http://dx.doi.org/10.1093/oq/8.2.179.

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Jellinek, George. "Fierrabras. Franz Schubert." Opera Quarterly 8, no. 4 (1991): 137–38. http://dx.doi.org/10.1093/oq/8.4.137.

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Rast, N. "Franz Schubert: Music and Belief." Music and Letters 87, no. 3 (August 1, 2006): 439–41. http://dx.doi.org/10.1093/ml/gci241.

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Kramer, Richard. "Posthumous Schubert: Drei grosse Sonaten fur das Pianoforte . Franz Schubert. ; Der Graf von Gleichen . Franz Schubert, Ernst Hilmar." 19th-Century Music 14, no. 2 (October 1990): 197–216. http://dx.doi.org/10.1525/ncm.1990.14.2.02a00060.

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Rast, N. "Franz Schubert: Das fragmentarische Werk." Music and Letters 87, no. 3 (August 1, 2006): 437–39. http://dx.doi.org/10.1093/ml/gci239.

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Solomon, Maynard. "Schubert: Family Matters." 19th-Century Music 28, no. 1 (2004): 3–14. http://dx.doi.org/10.1525/ncm.2004.28.1.3.

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Certain anomalous events in the history of Franz Schubert's family raise the possibility that he and his family inhabited a more tumultuous and conflict-ridden domestic universe than has been suspected. Among these are a series of painful losses in his mother's early life, the out-of-wedlock conception of Schubert's eldest brother, Ignaz, and Ignaz's subsequent omission from a schedule of heirs to some family property, along with his extended relegation to the lowly post of assistant teacher for more than a quarter century, until the death of his father, Franz Theodor Schubert, in 1830. In the background of these anomalies is the young Franz Theodor's unexpectedly rapid rise to prosperity in his profession, in which he and his sons had the decisive support of Bishop Josef Spendou, Vienna's superintendent of elementary schools, who was regarded as their "benefactor." Spendou's remarkably extensive devotion to the family's interestsÑincluding supplying a "scholarship" for Ignaz and a valued schoolteacher's post for young FerdinandÑopens for inspection several possibilities--that he may have been Ignaz's biological father, and that he and Schubert's parents may have entered into an arrangement whereby he furnished material and professional support to them in exchange for their raising his son as their own. Ultimately, when Franz Theodor died, Ignaz became the sole inheritor of the family's prosperous school, perhaps thereby closing the circle of pledges and obligations that bound Bishop Spendou and the Schuberts together. Left unexamined here are the potential reactions of Schubert and his siblings to their presumed knowledge of these veiled arrangements.
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Rastl, Peter. "Schubert-Liedertexte." Die Musikforschung 71, no. 2 (September 22, 2021): 166–73. http://dx.doi.org/10.52412/mf.2018.h2.305.

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Anhand der Recherche bisher unbekannter Textquellen wird für Franz Schuberts Vokalmusik illustriert, welche Möglichkeiten die literarische Quellenforschung durch die bereits digitalisierten Quellen möglich sind. So können einige der bisher offenen Fragen über Textdichter und Textquellen beantwortet werden. bms online (Cornelia Schöntube)
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Gramit, David, Elizabeth Norman McKay, and Brian Newbould. "Franz Schubert: A Biography." Notes 55, no. 1 (September 1998): 105. http://dx.doi.org/10.2307/900364.

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Hatch, Christopher, Ernst Hilmar, and Reinhard G. Pauly. "Franz Schubert in His Time." Notes 47, no. 3 (March 1991): 751. http://dx.doi.org/10.2307/941876.

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Branscombe, Peter, Peter Gulke, Walther Durr, Werner Aderhold, Walburga Litschauer, and Till Gerrit Waidelich. "Franz Schubert und seine Zeit." Notes 51, no. 3 (March 1995): 930. http://dx.doi.org/10.2307/899306.

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Dissertations / Theses on the topic "Franz Schubert, Dramatic music"

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Bjurström, John. "Skriva improvisationsmusik med Franz Schubert." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2814.

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During this project I have studied piano music by Franz Schubert (1797-1828) to thereafter use a couple of his harmonic structures as a foundation for composing music for piano trio. To write music that encourages improvisation and interaction between the band members has been a central focus while the broad goal of the project has been to develop myself as a musician and person. The project started in the fall of 2017, a senior recital was performed in Lilla Salen at KMH the 28th of February and was followed by time for reflection which can be found documented in my paper.             Something I wanted to try with this project was to create according to a partially predetermined method. I wanted Schubert’s music to have an impact on my compositions and from there I decided to transcribe harmonic structures on four of his works to rework these into new compositions. I hoped that this method would bring a forward motion to the work and in retrospect I believe it did. Composing with a few guidelines contributed with a sense of comfort to the process and made me stay on track through passages of low inspiration.             Reflecting on my work I feel that it became a good closure to my studies at KMH. A hybrid process showcasing different musical expressions, skills and sides to my personality with a work method that felt exciting.

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Madsen, Charles Arthur. "The Schubert-Liszt transcriptions : text, interpretation, and Lieder transformation /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080592.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 477-487). Also available for download via the World Wide Web; free to University of Oregon users.
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Mussard, Timothy S. "Embellishing Schubert's Songs : a performance practice /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/11217.

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Meggison, Natalie Rebecca. "Situating Schubert's Ossian settings, music, literature, and culture (Franz Schubert, Austria)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60383.pdf.

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HAM, INA. "FRANZ SCHUBERT'S IMPROMPTUS D.899 AND D.935: AN HISTORICAL AND STYLISTIC STUDY." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1114981145.

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Kim, SeonJu. "Challenges faced by modern violists when preparing the F. Schubert Arpeggione sonata for performance /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11422.

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Enhamre, Sebastian. "Franz Schubert: Sonat i a-moll, D 845 - En tolkning." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3459.

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Denna kandidatuppsats handlar om den österrikiske tonsättaren Franz Schubert (1797 - 1828) och hans pianosonat i a-moll, D 845. Mer specifikt har sonaten i fråga analyserats, med syftet att göra en tolkning av den i synnerhet och Franz Schuberts konstnärskap i allmänhet, utifrån ett perspektiv där Schuberts roll och relation till musikhistorien och idéhistorien undersöks. För att få bättre förståelse för musiken har Schuberts liv, samt några av hans sånger och idéer som kan ha påverkat honom, studerats. Jag har även gjort en analys av verkets fyra satser, där jag tittat på sonatens genomgående teman och motiv. På så sätt har jag försökt tolka musikens underliggande mening. Förhoppningen är att kunna skapa inblick i Schuberts mänskliga erfarenhet och en medvetenhet om vad han vill säga med sin musik, samt att detta ska hjälpa mig i min förståelse och tolkning av musiken. Intentionen är också att det ska vara till hjälp för alla som önskar ta del av Schuberts musik mer på djupet eller låta sig inspireras av den. Resultatet av undersökningen har inneburit en djupare förståelse för Schuberts musik, och i synnerhet för just denna sonat.
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Kim, Ah Young. "A Guide to Franz Liszt's Piano Transcriptions of Franz Schubert's Songs." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984280/.

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Franz Liszt (1811-1886) made fifty-six transcriptions of Schubert's songs over a period of eight years (1838-46) to introduce the name of the composer, who was little known both in and outside Vienna during his lifetime. Because Liszt intentionally preserved all the details of the original songs, these transcriptions present challenges for a pianist, such as how to produce a vocal line on the piano, as well as interpretive issues such as ornamentation, style, and conveying the meaning of the lyrics on the piano. The purpose of this study is to introduce pianists to study practices employed by singers, with the goal of interpreting the vocal aspects of Liszt's Schubert song transcriptions. The composer Robert Schumann once remarked that Liszt's transcriptions were perhaps the most difficult pieces written for the piano up to that time, and only an intelligent artist could satisfy Liszt's high level of virtuosity without destroying the identity of the original work. This could be considered a warning to pianists not to focus on the technical aspects only. The pedagogical guide presented in the study, based on singers' approaches to the actual songs, should help pianists to "see beyond the notes" and achieve a performance closer to the heart of the songs.
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Dempsey, Mariclare Elizabeth. "Hearing Voices: The Narrative Function of the Piano Voice in Schubert's Winterreise." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1579897972318386.

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Chang, Liang-Fang. "The orchestral elements in Franz Schubert's Wanderer fantasy-with implications for piano performance." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2680.

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Most pianists and music scholars consider Schubert's Wanderer Fantasy his most virtuosic piano work. The piece was written in November 1822 when the composer was twenty-five. By that time, Schubert was known for his lieder and some four-hand piano works, which were written in a very lyrical style. In comparison to these works, the Fantasy was written with a demanding technique requiring a richer, orchestral sound. The technical demands of the Wanderer Fantasy at times cause pianists to injure their arms. Even if this does not happen, the instrument, nonetheless, can sound harsh. This type of thick texture may have prompted Robert Schumann's comments in his 1828 review of the Fantasy (M.J.E. Brown, Schubert, A Critical Biography [London: Macmillan & Co., 1958], 124.): Schubert would like, in this work, to condense the whole orchestra into two hands... This essay will address two main subjects: first, the Fantasy will be considered from an orchestral perspective with reference to Schubert's own symphonic writing; second, this essay will seek to assist the pianist in producing a better sound, as well as avoiding injury. It is this essay's thesis that Schubert, when composing the Wanderer Fantasy, was actually constructing an orchestral plan under the guise of a piano score. In order to analyze Schubert's orchestral writing, this essay will be divided into four chapters. Chapter one will offer the historical background of the Wanderer Fantasy, chapter two will discuss Schubert as a symphonist as well as the Unfinished Symphony, which was written only two weeks before the Fantasy. Chapter three, based on the parallel orchestral elements found in the Unfinished Symphony piano sketch, will discuss the relationship between the piano sketch of the Symphony and the Wanderer Fantasy. Following this comparative analysis, chapter three will also offer practical performance suggestions based on previously discussed orchestral elements for the pianist. Chapter four presents conclusions offered by the author. The conclusions reached in this essay are presented in the hope that they will assist the pianist to achieve a more meaningful performance when performing the Wanderer Fantasy.
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Books on the topic "Franz Schubert, Dramatic music"

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Franz Schubert: Sexuality, subjectivity, song. Cambridge, United Kingdom: Cambridge University Press, 1998.

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Franz Schubert: La grande musica strumentale. Lucca: Libreria musicale italiana, 2013.

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Michael, Raab. Franz Schubert: Instrumentale Bearbeitungen eigener Lieder. München: W. Fink, 1997.

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Franz Schubert: Das Zeitmass in seinem Klavierwerk. München: Text + Kritik, 2001.

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Schubert chamber music. London: BBC Publications, 1986.

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Schubert: The music and the man. London: Victor Gollancz, 1997.

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Schubert's dramatic lieder. Cambridge: Cambridge University Press, 1993.

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Schubert, the music and the man. Berkeley: University of California Press, 1997.

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Harmony in Schubert. Cambridge: Cambridge University Press, 2010.

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Analyzing Schubert. New York: Cambridge University Press, 2011.

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Book chapters on the topic "Franz Schubert, Dramatic music"

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Wollenberg, Susan. "Schubert’s Dramatic Lieder:." In Drama in the Music of Franz Schubert, 85–106. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctv6jm9rg.12.

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Sobaskie, James William. "The Dramatic Strategy Within Two of Schubert’s Serenades." In Drama in the Music of Franz Schubert, 133–50. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctv6jm9rg.14.

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Sobaskie, James William. "The Dramatic Strategy Within Two of Schubert's Serenades." In Drama in the Music of Franz Schubert, 133–50. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444393.008.

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Black, Brian. "Lyricism and the Dramatic Unity of Schubert’s Instrumental Music:." In Drama in the Music of Franz Schubert, 233–56. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctv6jm9rg.18.

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Sobaskie, James William. "The Dramatic Monologue of Schubert’s Mass in Ab Major." In Drama in the Music of Franz Schubert, 51–82. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctv6jm9rg.11.

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Sobaskie, James William. "The Dramatic Monologue of Schubert's Mass in Ab Major." In Drama in the Music of Franz Schubert, 51–82. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444393.005.

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Wollenberg, Susan. "Schubert's Dramatic Lieder: Rehabilitating ‘Adelwold und Emma’, D. 211." In Drama in the Music of Franz Schubert, 85–106. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444393.006.

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Black, Brian. "Lyricism and the Dramatic Unity of Schubert's Instrumental Music: The Impromptu in C Minor, D. 899/1." In Drama in the Music of Franz Schubert, 233–56. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444393.012.

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"FRANZ SCHUBERT." In The Classical Music Lover's Companion to Orchestral Music, 661–77. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.54.

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Hascher, Xavier. "Music as Poetry:." In Drama in the Music of Franz Schubert, 257–82. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctv6jm9rg.19.

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Conference papers on the topic "Franz Schubert, Dramatic music"

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Deisinger, Marko. "Fortschrittliche Technologie im Dienste eines Antimodernisten. Heinrich Schenker und der österreichische Rundfunk." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.52.

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The Viennese music theoretician Heinrich Schenker opposed modernity during his entire life. At first, this opposition applied to new technologies as well. Despite his skepticism, he purchased a radio shortly after the Austrian Broadcasting Corporation (RAVAG) started broadcasting in October 1924 and soon became an avid radio listener. Schenker quickly grasped the advantages of this new transmission medium and used it to further his own interests, aided by personal contacts with the RAVAG. In 1928, his associate Otto Erich Deutsch delivered a radio lecture co-authored with Schenker about the goals of the “Archive for Photograms of Musical Master Manuscripts” which was founded at Schenker’s instigation. In 1934, the RAVAG sponsored a competition, awarding the best text to a song fragment by Franz Schubert which in turn was discovered by Deutsch. Since the textless fragment lacks the final measures, Schenker had previously composed an ending for the song which was also performed on the radio.
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Journal articles Dissertations / Theses Books
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