Relevant bibliographies by topics / Liszt, Franz, Piano music Romanticism in music / Dissertations / Theses
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Dissertations / Theses on the topic 'Liszt, Franz, Piano music Romanticism in music'

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Published: 4 June 2021
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1

Kim, Younshin. "An analytical study of Liszt's "Grandes études de Paganini", nos. 3 and 6 /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11363.

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2

Low, Michael Meow Yin. "The influence of romanticism on the evolution of the transcendental etudes of Franz Liszt." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8254.

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This thesis sets out to investigate the musical and Romantic ideas that may have influenced Liszt during the composition of the three versions of the 'Transcendental' Etudes in relation to the pianistic and musical evolution of the work. The musical and pianistic content of the juvenile etude pour le piano en douze exercices (1827) takes after the didactic exercises of Karl Czerny. The intermediate version, known as the Grandes Ãtudes (1839), was conceived at the height of Liszt's performing career and develops the principal thematic ideas of its predecessor whilst incorporating
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3

Lym, Sang-hee. "Aspects of compositional technique in the late original solo piano pieces by Franz Liszt /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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4

Lin, Chia-Yin. "The Liszt transcriptions for piano of songs by Beethoven, Chopin, and Mendelssohn : inspiration, process and intention /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11403.

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5

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
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6

Shin, Minna Re 1969. "New bottles for new wine : Liszt's compositional procedures (harmony, form, and programme in selected piano works from the Weimar period, 1848-1861)." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36791.

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The dissertation examines Liszt's experimentation with harmonic, formal, and programmatic procedures in the piano works of his Weimar period (1848--1861). Liszt's music has often been criticized as "new wine in old bottles." His radical development of keyboard technique and harmonic vocabulary appears contained within, and constrained by, traditional forms. Here, however, it is argued that Liszt's "form" and "content" go hand in hand. A change in one compositional element (e.g., harmonic vocabulary) leads to changes in other elements (e.g., formal and tonal design), so that a kind of compositi
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7

Kim, Bo Ra. "A New Perspective on the Interpretation and Performance of Franz Liszt's Piano Cycle, Harmonies poetiques et religieuses, S.173." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439281808.

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8

Yin, Wei-Ting. "Franz Liszt's Early Weimar Period Piano Waltzes." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1512039499982505.

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9

Cloutier, David 1948. "A Comparison of the Transcription Techniques of Godowsky and Liszt as Exemplified in Their Transcriptions of Three Schubert Lieder." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331767/.

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This investigation sought to compare the transcription techniques of two pianist-composers, Godowsky and Liszt, using three Schubert lieder as examples. The lieder were "Das Wandern" from Die Schöne Müllerin, "Gute Nacht" from Winterreise, and "Liebesbotschaft" from Schwanengesang. They were compared using four criteria: tonality, counterpoint, timbral effects, and harmony. Liszt, following a practice common in the nineteenth century, was primarily concerned with bringing new music into the home of the domestic pianist. The piano transcription was the most widely used and successful medium for
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10

Van, Dine Kara Lynn. "Musical Arrangements and Questions of Genre: A Study of Liszt's Interpretive Approaches." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28488/.

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Through his exceptional creative and performing abilities, Franz Liszt was able to transform compositions of many kinds into unified, intelligible, and pleasing arrangements for piano. Nineteenth-century definitions of "arrangement" and "Klavierauszug," which focus on the process of reworking a composition for a different medium, do not adequately describe Liszt's work in this area. His piano transcriptions of Schubert's songs, Berlioz's Symphonie fantastique and the symphonies of Beethoven are not note-for-note transcriptions; rather, they reinterpret the originals in recasting them as compos
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11

Hickman, Melinda Lee. "MEANING IN PIANO MUSIC WITH A RELIGIOUS THEME: A PHILOSOPHICAL AND HISTORICAL APPROACH." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991745344.

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12

Sheldon, Vanessa Renee. "Franz Liszt and the harp: An examination of his lifelong interactions with harpists and transcriptions of four solo piano compositions for harp." Diss., The University of Arizona, 2005. http://hdl.handle.net/10150/282893.

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The main objective of this document is to investigate the suitability and aptness of performing the solo piano music of Franz Liszt (1811-1886) on the harp. This has been accomplished by dividing Liszt's career into four periods and examining the various connections he retained with harpists with during each of these periods. For each of these harpists the author shows how they became associated with Liszt, the scope of their work together, and demonstrates their influence on his life and compositional style, including musical examples where appropriate. As part of this research project the au
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13

Antoniadis, Pavlos. "Labyrinths." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1470292.

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Thesis (M.A.)--University of California, San Diego, 2009.<br>Title from 1st page of PDF file (viewed Dec. 16, 2009). Available via ProQuest Digital Dissertations. Includes sound files of the thesis recital in 44K stereo. and 96K formats.
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14

Kim, Jung-Ah. "A Study of Franz Liszt's Concepts of Changing Tonality as Exemplified in Selected "Mephisto" Works." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2246/.

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The purpose of this study is to analyze four late solo piano works of Franz Liszt that all bear the name "Mephisto" in their titles, in order to examine, identify and trace the development in the use of harmonic and melodic idioms that produced non-tonal or "omnitonic" effects, on the one hand, and to emphasize the need to duly accord Liszt a recognition of historical position as the nineteenth century's most influential avant garde composer whose attitude and approach had helped to shape much of the ideal of the atonal composition of this century, on the other. Chapter One presents the issues
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15

Knoll, Moises S., and Moises S. Knoll. "A study of selected Liszt transcriptions of Schubert Lieder: aesthetic and technical aspects." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624863.

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Franz Peter Schubert (1797-1828) created the accompanied art song as we know it. His achievement as a composer of Lieder stands at the very core of his labors as a creator. Franz Liszt (1811-1886) in addition to being a composer of genius, was also the greatest virtuoso pianist of the nineteenth century. He had a particular affinity for Schubert's music, which led him to transcribe as many as 54 of the Lieder for piano solo. These transcriptions are faithful recreations of Schubert's musical thought, yet the pianistic layout is completely Lisztian. Franz Schubert was hardly a public figure d
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16

Vitalino, Michael. "Franz Liszt's Settings Of “was Liebe Sei?”: A Schenkerian Perspective." Connect to this title, 2008. http://scholarworks.umass.edu/theses/170/.

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17

Lively, Judy Sharon. "Extra-Musical Associations in Selected Pieces From Années de Pélerinage, Troisième Année, by Franz Liszt: A Lecture Recital, Together with Three Recitals of Selected Works of D. Scarlatti, F.J. Haydn, L.v. Beethoven, F. Schubert, F. Chopin, J. Brahms, R. Schumann, and Others." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332359/.

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Volumes one and two of Annees de Pelerinage contain travel impressions. The pieces in volume three serve as a means of expressing a religious pilgrimage. The religiousmeaning is implied by the titles and by letters Liszt wrote concerning specific pieces. For the pieces to have programmatic significance, the music must support the verbal clues. This dissertation maintains that selected pieces in Annees de Pelerinage III are programmatic and that Liszt provided musical clues that have not been discovered or, if noticed, have not been analyzed in detail. Also, the dissertation explores similarit
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18

Gamar, Tetyana. "Från ett piano till en orgel : En studie om Franz Liszt som orgeltonsättare med särskilt fokus på hans ”Preludium och fuga BACH”." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2695.

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Examensarbetet handlar om min instudering av hur F. Liszts hanterade orgel och fugaformen. Som exempel tog jag hans BACH Preludium och fuga, eftersom fugaformen och harmoniken var viktiga för honom. Det finns både orgel och piano version av detta verk och det kommer att vara intressant för mig som både pianist och organist att jämföra båda versioner.
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19

Vidovic, Silvije. "Transformation of Themes, Controlled Pianistic Textures, and Coloristic Effects in Liszt's Hungarian Rhapsodies Nos 6, 10, and 12." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149679/.

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Liszt's Hungarian Rhapsodies are uniformly considered highly challenging in terms of technical execution. However, their artistic value is frequently questioned. This dissertation examines the compositional elements that are often overlooked in these virtuoso works, and provides a viewpoint into their interpretative characteristics. Furthermore, it pursues a claim that besides being excellent performance pieces, these works also make an intriguing contribution to Liszt scholarship, and deserve meaningful consideration in terms of their artistic quality. Following the Introduction (Chapter 1),
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20

Tan, Sok-Hoon. "The "Gypsy" style as extramusical reference: A historical and stylistic reassessment of Liszt's Book I "Swiss" of Années de pèlerinage." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6046/.

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This study examines Liszt's use of the style hongrois in his Swiss book of Années de pèlerinage to reference certain sentiments he had experienced. The event that brought Liszt to Switzerland is discussed in Chapter 1 in order to establish an understanding of the personal difficulties facing Liszt during the period when the Swiss book took shape. Based on Jonathan Bellman's research of the style hongrois, Chapter 2 examines the Swiss pieces that exhibit musical gestures characteristic of this style. Bellman also introduced a second, metaphoric meaning of the style hongrois, which is discussed
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21

Voltchok, Anastasia. "The art of piano transcription as represented in works of Franz Liszt and Sergey Prokofiev." 2005. http://hdl.handle.net/1903/9751.

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22

"Piano Variations by Liszt, Lutoslawski, Brahms, and Rachmaninoff on a Theme by Paganini." Thesis, 2012. http://hdl.handle.net/1911/70520.

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Theme and Variations is arguably one of the oldest musical forms in music history. Composers have used certain themes repeatedly as thematic sources for variations. Among them, Paganini's Caprice No. 24 in A minor is certainly the best known, since the theme has inspired many composers for variations of their own. The purpose of this study is to analyze different sets of Variations on Paganini's theme by Franz Liszt, Witold Lutoslawbski, Johannes Brahms, and Sergei Rachmaninoff, in order to examine, identify, and trace how far an original idea can be stretched by using different variations tec
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23

"Artistic Fusion in the Piano Concert: The Piano Recital and Concepts of Artistic Synergy: Includes two multimedia projects: Picturing Rachmaninoff & Picturing Ravel." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14651.

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abstract: This paper investigates the origins of the piano recital as invented by Franz Liszt, presents varying strategies for program design, and compares Liszt's application of the format with current trends. In addition it examines the concepts of program music, musical ekphrasis, and Gesamtkunstwerk and proposes a new multimedia piano concert format in which music combines with the mediums of literature and the visual arts; Picturing Rachmaninoff, and Picturing Ravel provide two recent examples of this format.<br>Dissertation/Thesis<br>D.M.A. Music 2012
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