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Dissertations / Theses on the topic 'Liszt'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2025

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1

Vavrušová, Andrea. "Franz Liszt: Totentanz." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-261365.

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2

Oh, Young Ran. "The eternal paradox in Franz Liszt's persona : good and evil as illustrated in his piano sonatas /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11392.

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3

Hartmann, Anselm. "Kunst und Kirche : Studien zum Messenschaffen von Franz Liszt /." Regensburg : G. Bosse, 1991. http://catalogue.bnf.fr/ark:/12148/cb36955765h.

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4

Baron, Michael David. "The songs of Franz Liszt." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1234717504.

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5

Reynaud, Cécile. "Liszt et le virtuose romantique /." Paris : H. Champion, 2006. http://catalogue.bnf.fr/ark:/12148/cb40168559v.

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6

Holloway, James Dale. "Performance convention and registrational practice in the Weimar organ works of Franz Liszt /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11374.

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7

Protzies, Günther. "Studien zur Biographie Franz Liszts und zu ausgewählten seiner Klavierwerke in der Zeit der Jahre 1828-1846." [S.l. : s.n.], 2004. http://deposit.ddb.de/cgi-bin/dokserv?idn=972689885.

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8

Tsai, Meng-Yin. "Franz Liszt's lyricism : a discussion of the inspiration for his first Italy album of "Année de Pèlerinage" /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11312.

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9

Heinemann, Michael. "Die Bach-Rezeption von Franz Liszt /." Köln : Studio, 1995. http://catalogue.bnf.fr/ark:/12148/cb357825583.

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10

Desagulier, Jean-Bernard. "Hermann Cohen, élève de Franz Liszt /." Lille : A.N.R.T, 2003. http://catalogue.bnf.fr/ark:/12148/cb390577368.

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11

Desagulier, Jean-Bernard. "Hermann Cohen, élève de Franz Liszt." Paris 4, 1998. http://www.theses.fr/1998PA040056.

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Franz Liszt eut de nombreux élèves tout particulièrement à l'Altenburg. Aloys Tausig vint s'y installer et y vécut deux ans. Mais auparavant les biographies, les correspondances diverses que Franz Liszt a échangées avec les personnalités musicales et littéraires de son temps, font mention à de nombreuses reprises de la présence à ses côtés d'un élève privilégié qui outre son enseignement partagea son intimité familiale. Hermann Cohen né en 1821, jeune pianiste prodige venu de Hambourg devint l'élève de Liszt en 1834 ; il rejoindra son maitre à Genève ou il se verra confier malgré son jeune âge
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12

Sasaki, Yuka. "Cellular construction in the piano Concerti of Franz Liszt /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/11414.

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13

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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14

Haug-Freienstein, Wiltrud. "Motiv, Thema und Kompositionsaufbau bei Franz Liszt." [München : s.n.], 1987. http://catalog.hathitrust.org/api/volumes/oclc/20164651.html.

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15

Dömling, Wolfgang. "Franz Liszt und B-a-c-h." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37202.

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16

Plylar, David. "The dynamic contextual nexus and the composition of self : Franz Liszt's Trois odes funèbres : a case study in intertextuality /." Digitized version, 2008. http://hdl.handle.net/1802/7670.

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Thesis (Ph. D)--University of Rochester, 2008.<br>Includes abstract and vita. Accompanies: Reliquary : for piano and orchestra / by David Plylar. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7670
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17

Dufetel, Nicolas Gosselin Guy. "Palingénésie, régénération et extase dans la musique religieuse de Franz Liszt." Tours : Service commun de documentation, 2008. http://theses.abes.fr/2007TOUR2002.

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18

Ljung, Lucas. "Skräckromantiken genom Franz Liszt Ballad i b-moll." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2977.

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I den här examensuppsatsen undersöks Franz Liszt och hans Ballad nr 2 i b moll. Genom detta ämnar jag ta reda på vad skräckromantiken egentligen var, vad som skapade den och om detta stycke är ett uttryck för tiden. Syftet är att undersöka stycket och försöka anknyta det till nutiden. Först gick jag noga igenom noterna och analyserade hur det musikaliska, dramaturgiska uttrycket hängde samman med orden, poemet. Efter att ha övat in själva melodin började ett sökande efter poemets berättelse i musiken, och en ny lång inövningsperiod där jag uttryckte historien i musiken, de
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19

Kiely, Yagan M. "An exploration of octatonicism: From Liszt to Takemitsu." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2534.

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The octatonic pitch set can be found in the works of many composers since the early nineteenth century, often with different characteristics of the pitch set being exploited by the composers. Much of the literature on octatonicism relates to specific instances in compositions or a specific composer’s approach to it rather than exploring octatonicism from a more holistic perspective. This dissertation serves as a holistic resource for the characteristics of the octatonic pitch set; whether as a scale, especially with regards to common practice harmony; or an unordered set. It does this by consi
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20

Kim, Min. "A study of Franz Liszt's Totentanz piano and orchestra version, and piano solo version /." Lecture recital, recorded July 20, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5409.

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Thesis (D.M.A.)--University of North Texas, 2007.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded July 9, 2001, Nov. 18, 2002, and Jan. 24, 2005, and July 20, 2006. Includes bibliographical references and discography (p. 32-34).
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21

Fry, John Douglas. "Liszt's Mazeppa : the history and development of a symphonic poem." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1260449491.

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22

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.<br>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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23

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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24

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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25

Rådén, Anders. "Liszt och Alkan: Den virtuosa pianoetyden : Övningsstycke eller muterat monster?" Thesis, Uppsala universitet, Institutionen för musikvetenskap, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-173851.

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Anders Rådén: Liszt &amp; Alkan: the virtuoso piano study – practice study or monstrous mutation? Uppsala: Musikvetenskap, 1998. C-uppsats (60 p). The purpose of this essay is to analyse a selection of studies by Franz Liszt (1811-1886) and Charles- Valentin Alkan (1813-1888). Can they be definedas practice studies, or are they reshaped in such a manner, as to establish a larger form reminiscent of the concert study? First of all, typical study characteristics of this time period are determined, then such characteristics are looked for in three of either Liszt's and Alkan's studies (from Douze
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26

Wu, Longkang [Verfasser]. "Kompositionstechnik und Semantik der Klaviertranskriptionen von Franz Liszt / Longkang Wu." Berlin : Freie Universität Berlin, 2018. http://d-nb.info/1171222769/34.

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27

Saffle, Michael. "Liszt, Cultural Identity, Sonata Form, and the Scherzo und Marsch." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71973.

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28

Arjona, Alfredo. "Learning From the Autograph: a New Critical Approach to Performing Liszt’s Sonata in B Minor." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804866/.

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The Sonata in B minor occupies a hallowed position in Liszt’s oeuvre, according to scholarly assessment. Despite the plethora of literature on this consummate work, the vast majority of writings on the sonata have focused almost exclusively on formal innovation, thematic transformation, and programmatic speculation, and there is a dearth of interpretative analysis of the sonata based on its fascinating autograph manuscript, even though it has been publicly accessible and widely available in facsimile for some four decades now. In view of the fact that the autograph manuscript has never been ex
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29

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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30

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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31

Tsekova-Zapponi, Daniela. "Les interprètes face à la Sonate en si mineur de Liszt." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC014/document.

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Notre recherche porte sur une analyse comparative des interprétations de la Sonate en si mineur de Liszt. Nous avons analysé vingt-cinq enregistrements de pianistes regroupés en cinq écoles :hongroise, française, russe, américaine et allemande. Nous avons comparé les déviations des interprètes par rapport à la partition et les divergences entre les différentes interprétations, en sélectionnant sept paramètres qui nous ont permis de caractériser chaque interprétation. Une double analyse a été effectuée : « à l'oreille » et à l'aide d'un logiciel informatique. Notre recherche a démontré l'import
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32

Hamilton, Kenneth. "The opera fantasias and transcriptions of Franz Liszt : a critical study." Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:021d129f-3b6d-4a55-893c-ba92ea853653.

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The traditional division between "original" and "arrangement" is impossible to sustain for most of Liszt's oeuvre. By virtue of the amount of original creative thinking displayed in his finest operatic fantasies and transcriptions they deserve as detailed a study as any other group of works. Our knowledge is deficient even with regard to identification and dating; the Fantasia on Le Nozze di Figaro and Don Juan is unknown in its original form, while the Fantasia on Il Giuramento has remained unidentified. All of Liszt's works share the same improvisatory approach to composition. Both original
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33

Larkin, David. "Reshaping the Liszt-Wagner legacy : intertextual dynamics in Strauss's tone poems." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/284073.

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34

Reynaud, Cécile. "La notion de virtuosité dans les écrits critiques de Franz Liszt." Paris 3, 2001. http://www.theses.fr/2001PA030161.

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La virtuosité pianistique appartient au genre de la musique instrumentale, en plein essor dans la musique européenne de la première moitié du XIXe siècle. Pourtant, du fait de ses caractéristiques d'exécution et de démonstration, elle cumule les désavantages de la musique instrumentale (pas de mot, donc pas de sens), et ceux de la musique vocale dramatique (elle serait du côté de la gesticulation plus que de l'expression). Comment, sur les bases de la philosophie romantique allemande, en particulier d'E. T. A. Hoffmann - la musique instrumentale et la virtuosité pianistique acquièrent-elles en
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35

Song, Yoon. "Liszt, Thalberg, Heller, and the Practice of Nineteenth-Century Song Arrangement." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307457251.

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36

Reynaud, Cécile. "La notion de virtuosité dans les écrits critiques de Franz Liszt /." Paris [C. Reynaud], 2001. http://catalogue.bnf.fr/ark:/12148/cb376614270.

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37

Dufetel, Nicolas. "Palingénésie, régénération et extase dans la musique religieuse de Franz Liszt." Thesis, Tours, 2008. http://www.theses.fr/2008TOUR2002.

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Parallèlement à sa vaste production musicale, Franz Liszt (1811-1886) a laissé un certain nombre d'écrits qui permettent de mieux pénétrer sa pensée. La thèse propose d'étudier dans sa musique religieuse, composée principalement entre 1885 et 1886, deux idées qu'il a développées dans des articles au cours des années 1830 : la palingénésie (liée à la régénération) et l'extase. Interroger ces deux points revient à poser la question de la permanence et de l'application de données théoriques et esthétiques : Liszt met-il en pratique après 1855 ce qu'il écrit dans les années 1830 ? . Au seuil de la
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38

Williams, Nicholas Mark. "A study on performing the Hungarian Rhapsodies in the Liszt tradition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2360.

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Franz Liszt’s Hungarian Rhapsodies (1851, 1853) have long been among the most popular collections of piano music. They have also long garnered a reputation for “superficial brilliance and effect” which seems to have influenced the way that famous pianists play the works in public. But would a performer immersed in the Liszt tradition have approached them differently? This dissertation aims to promote a re-evaluation of the Hungarian Rhapsodies from this perspective: considering Liszt’s own ideas on music and performance, the writings and recordings of his pupils, and Liszt’s book Des Bohémiens
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39

Liu, Hongye. "Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.

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Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale su
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40

Seguin, Abigail L. "Nonfunctional Parsimony and Tonal Ambiguity in the Late Lieder of Franz Liszt." Thesis, University of Louisiana at Lafayette, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1557576.

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<p> The first two chapters of this study explore <i>Mehrdeutigkeit</i> and parsimonious, non-functional voice leading of augmented triads, fully diminished seventh chords, and half-diminished seventh chords in the late <i> Lieder</i> of Franz Liszt. These techniques utilize varying numbers of common tone retention to create surface level ambiguity. Examples of this motion are extracted from the <i>Lieder</i>, and presented along with a discussion of how the chords function on the musical surface. In Chapter 3, these chords are paired with the concept of directional tonality and a variety of pr
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41

Tanner, Mark. "The Liszt Sonata in B minor : an analytical study of recorded performances." Thesis, Birmingham City University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310606.

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42

Widén, Anne Kristiina. "Liszt and 'The Musical Times' : a study of reception in Victorian England." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437104.

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43

Carenco, Céline. "L'influence des transcriptions d'œuvres d'Hector Berlioz sur l'écriture orchestrale de Franz Liszt." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2199.

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L’objet de cette thèse est l’étude de la musique de Franz Liszt de 1830 à 1850 environ. Il s’agit de comprendre comment le musicien, qui garde Paris comme principal port d’attache de décembre 1823 à avril 1844, élabore peu à peu, lors de ses années d’apprentissage au cœur de la révolution romantique, une écriture orchestrale qu’il mettra en pratique à partir de 1848 à Weimar. En effet, pendant cette période parisienne, Liszt transcrit pour le piano de nombreuses partitions d’orchestre : il est probable qu’en plus de l’encourager à révolutionner l’écriture pianistique, et ainsi à inventer le pi
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44

Thiagarajan, Krishna Whang Joanna Yu Tao-Chang. "Sonata development at the turn of the century from Liszt to Stravinsky /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3423.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;
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45

Yekta, Leylie. "Franz Liszt och Julius Reubke : en studie av två viktiga orgeltonsättare, Franz Liszt och hans elev Julius Reubke, deras liv, verk och konstnärliga miljö i Tyskland vid mitten av 1800-talet." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1228.

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46

LEE, JAEJIN. "A PEDAGOGICAL APPROACH TO LISZT'S SECOND BALLADE." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1123309037.

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47

Lee, Bora. "Franz Liszt's Vallee d' Obermannfrom the Annees de Pelerinage, Premiere Annee, Suisse:A Poetic Performance Guide." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377868661.

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48

Kim, Min. "A study of Franz Liszt's Totentanz: Piano and orchestra version, and piano solo version." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5409/.

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Undoubtedly, Totentanz has been one of the most famous works by Franz Liszt. Totentanz has been recorded by many pianists and addressed in much of the vast literature about Liszt and his works; however, little research has been focused on this work. Most studies of Totentanz address only the historical background of the piece in relation to the theme based on Dies irae. Currently, there are no specific studies about the solo piano or two piano versions and only one recording was located. Liszt's own piano solo transcription of this famous work is an excellent addition to the concert repertoire
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49

Cormac, Joanne. "Liszt as Kapellmeister : the development of the symphonic poems on the Weimar stage." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/3966/.

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Little research has been carried out into Liszt’s work as Kapellmeister of the Weimar Court Theatre. The nature and extent of his duties, his involvement in productions, festivals and performances, and his relationships with others within the administration has yet to be examined in detail, let alone the implications of all of this for his music. This thesis draws on a wealth of primary source material to provide new insight into this area. It begins by drawing a general picture of Liszt’s work in Weimar. Then, it attempts a detailed ‘re-historicisation’ of four of Liszt’s Weimar symphonic poe
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50

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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