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Relevant bibliographies by topics / Schubert, Franz

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Academic literature on the topic 'Schubert, Franz'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Schubert, Franz"

1

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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Wyciślik, Karolina. ">>Cudownie nieartykułowana mowa dźwięków<<. Muzyczno-literacki motyw lipy w pieśni piątej z „Winterreise” Franza Schuberta i „Der Lindenbaum” Wilhelma Müllera w przekładzie Stanisława Barańczaka." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 8 (December 23, 2020): 272–85. http://dx.doi.org/10.24917/23534583.8.17.

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W 1827 roku Franz Schubert wydał cykl pieśni Winterreise. Z kolei 167 lat później Stanisław Barańczak opublikował tom Podróż zimowa. Wiersze do muzyki Franza Schuberta. Romantyczna pieśń zapoczątkowana przez austriackiego kompozytora dała nową sposobność do przekazania ekspresji poprzez słowo śpiewane i towarzyszącą muzykę. Artykuł na podstawie Pieśni V, zatytułowanej Der Lindenbaum (Lipa), przedstawia korelacje zachodzące na płaszczyźnie między Schubertem, Wilhelmem Müllerem a Barańczakiem. Jest to jedyny wiersz w cyklu, który Barańczak przełożył z języka niemieckiego. Powstające we wspólnym muzyczno-literackim obszarze sensy autorka lokuje w różnych systemach znaczeniowych: tekstu literackiego, możliwych sytuacjach intertekstualnych oraz istnienia dzieła literackiego wobec muzyki, i odpowiada na pytanie, jak w tej sytuacji topika drzewa znaczy w wierszu Barańczaka połączonym z muzyką Schuberta.

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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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Lazzarotti, Olivier. "Franz Schubert était-il viennois? // Was Franz Schubert a Viennese ?" Annales de Géographie 113, no. 638 (2004): 425–44. http://dx.doi.org/10.3406/geo.2004.21632.

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Каrachevtseva, Inna. "Stylistic phenomenon of Violin sonatas by Franz Schubert." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 106–25. http://dx.doi.org/10.34064/khnum2-16.06.

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Background. In recent years musicologists revealed an increasing interest in the problem of historical typology of F. Schubert’s composer style. In fact, scholars question possibility to characterize it as romantic, in their turn suggesting another interpretations and characteristics. For instance, M. Brown avoids usage of the term “Romantic” referring to F. Schubert, insisting on him being a part of a Classical tradition. In order to substantiate his viewpoint, the scholar appeals to harmony of the composer, where novelties, according to M. Brown, are not in fact innovations but incredibly skilful incarnation of Classical ideas. More moderate opinion on the discussed problem is stated by Ch. Rosen (2003). While acknowledging “revolutionary” nature of F. Schubert’s harmony, the scholar simultaneously points out a “special status” of the composer in musical art, a status not allowing to apply neither Classical, nor Romantic standards to the works of master. Consequently, as Ch. Rosen says, F. Schubert ended up being “in-between” Classical tradition and Romantic innovations. In his earlier study (1997) abovementioned author uses term “Postclassicism” referring to F. Schubert and other artists of his generation. A collision “F. Schubert – L. van Beethoven” is regarded both by Е.Badura-Skoda (2004) and J. Daverio (2002). The latter one tries to solve it while regarding it through prism of R. Schumann’s observation on this problem. Thus, it is obvious that reception of F. Schubert’s style as typologically ambiguous has a long-lasting history dating back to Romantic era. This intrigue can be found in researches of XX century as well. For example, phenomenon of style of F. Schubert’s chamber works has become a topic of P. Wolfius’ rumination, who defined it as “intermediate” (1974). Mentioned above works of the last third of XX century and beginning of XXI century prove relevance of the problem of historical typology of F. Schubert’s composer style for modern musicology. This calls for its further development through analytical studying of musical material while using historically-typological method of research. In the given aspect, special attention should be drawn to early works by composer, including four Violin sonatas. Objectives. The goal of this paper is to comprehend stylistic phenomenon of these works as a result of mixture of Classical experience gained by F. Schubert and first signs of his oncoming individual view on the essence of music and sound. Methods. In order to achieve this goal, the author of current work uses a periodization of F. Schubert’s chamber legacy, created by H. Gleason and W. Becker (1988) as well as models of “biography scenario”, revealed by N. Savytska (2010). According to the former one, Violin sonatas, written in 1816–1817, don’t belong to the “mature” works; at the same time according to the latter ones, due to F. Schubert’s style evolution being smooth and gradual its starting and finishing points have no radical discrepancies, that would be caused by the change of orientation of composer’s creative method, and as a result, in the early works one can discern some key features of the mature ones. It is relevant, among others, for the sonata genre, where composers first achievements, incidentally, were made in its violin type, preceding highly individual accomplishments of piano sonatas. This situation in the given article is explained as a result of a composer becoming more and more mature as a musician through his life, undoubtedly influenced by special features of this process. Results and discussion. Given that F. Schubert’s Violin sonatas are named differently by performers, publishers and scholars (op. 137 consists of three Sonatas or Sonatinas, op. 162 is also known as “Duo”), it was necessary to conduct a research basing on various sources (Holl, 1973; Vetter, 1953; Deutsch, 1978), in order to ensure righteousness of definition of all the pieces regarded as “sonata”. On the foreground of observation on F. Schubert’s understanding of the cycle it was possible to reveal composer’s loyalty to rules of his time. Sonata ор. 137 № 1 is composed as a classical three-movement model; subsequent ones, including op. 162, embody four-movement model, and that can be a reason to draw parallels between F. Schubert and L. van Beethoven. Individual steps of the journey of author’s self-identification as a composer are traced. Sonata ор. 137 № 1 is marked by frequent employment of variative development in the principal theme of the first movement, that causes its turning into digressive episode; inclusion of contrasting episode in the middle sections of Andante in Sonatas ор. 137 № 2–3 (that is not prescribed by chosen musical form) foreshadows tonal device, favoured by F. Schubert in his mature works – preference to Subdominant sphere over Dominant in four-movement cycle with tonal and dramaturgical highlighting of pair “lyricism – game” in middle movements (slow ones and Minuets); binarity of tonal centres in expositions and even recapitulations of sonata form being substituted by ternarity, that causes a whole section to be a principal unit of structure etc. Sonata op. 162 acquires significance of climax in F. Schubert’s ascent to self-identity in sonata genre. Its expanded structure, including gigantic development of the Finale, Minuet being substituted by Scherzo, parts of performers being completely equal in every respect allow to regard this work as first “Grand Sonata” in F. Schubert’s legacy. Moreover – experience gained by composer while creating it will be applied in cyclic composition for piano in mature period of creativity. Conclusions. In Conclusions analytical observations are summarized and generalized as well as levels of artistic structure of Violin sonatas, incarnating specifics of F. Schubert’s understanding of music as a composer of his historical time, are revealed.

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Lambert, Sterling. "Franz Schubert and the Sea of Eternity." Journal of Musicology 21, no. 2 (2004): 241–66. http://dx.doi.org/10.1525/jm.2004.21.2.241.

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The sea, in its seemingly limitless expanse, symbolized the concept of eternity to a number of important artists of the early 19th century, including Coleridge, Friedrich, and Goethe, who struggled to come to terms with this difficult concept through revision of their initial thoughts and ideas. Goethe's poem Meerestille was set by both Beethoven and Schubert within weeks of one another, and Schubert's two settings, written in the space of only two days, demonstrate the young composer's increasing ability to grasp the existential notion of timelessness as he grappled with Goethe's text. Schubert's musical reading and subsequent re-reading of the poem show how his use of the tritone as a musical symbol of the infinite underwent significant refinement in his second setting.

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Muxfeldt, Kristina. "Schubert, Platen, and the Myth of Narcissus." Journal of the American Musicological Society 49, no. 3 (1996): 480–527. http://dx.doi.org/10.2307/831770.

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When Franz Schubert's friend Franz von Bruchmann returned to Vienna in 1821 from his studies in Erlangen, he brought with him August von Platen's Ghaselen just off the press. Soon after, Schubert set two Platen texts. A reviewer for the Leipzig Allgemeine musikalische Zeitung singled out "Die Liebe hat gelogen" as particularly incomprehensible, in part because he found Schubert's radical harmony to be unmotivated by the text. The daring harmonic language of the second Platen song has struck even recent critics as excessive, yet none have addressed the textual motivation for Schubert's extreme expression. Both poems concern ill-fated homosexual love, "Du liebst mich nicht" most explicitly, if obliquely: the poem is a veiled reflection on the myth of Narcissus, a myth Platen frequently drew on as a symbol for his own homosexuality.

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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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GRAEME, R. "Two by Franz Schubert." Opera Quarterly 16, no. 1 (January 1, 2000): 127–29. http://dx.doi.org/10.1093/oq/16.1.127.

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Dissertations / Theses on the topic "Schubert, Franz"

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Müller-Kelwing, Karin. "Franz Schubert." Böhlau Verlag, 2020. https://slub.qucosa.de/id/qucosa%3A75064.

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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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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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Bodendorff, Werner. "Die kleineren Kirchenwerke Franz Schuberts /." Augsburg : B. Wissner, 1997. http://catalogue.bnf.fr/ark:/12148/cb36996011q.

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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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Raab, Michael. "Franz Schubert : instrumentale Bearbeitungen eigener Lieder /." München : W. Fink, 1997. http://catalogue.bnf.fr/ark:/12148/cb36967051k.

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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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Cho, Hye-Won Jennifer. "Performance practice issues in Franz Schubert's Fantasy in C major ("Wanderer fantasy"), D. 7960." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023755691&sid=4&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Krause, Andreas. "Die Klaviersonaten Franz Schuberts : Form, Gattung, Ästhetik /." Kassel ; Basel ; London : Bärenreiter, 1992. http://catalogue.bnf.fr/ark:/12148/cb355245956.

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Subbotin, Filipp. "Franz Schubert. Fantasie Poutník, op.15 (C dur)." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-79092.

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In this essay I would like to show how it is possible to work with the musical text and also with Schubert´s texts. I think this method could help a pianist to find the right ways of performance Schubert´s music.

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Books on the topic "Schubert, Franz"

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Buenzod, Emmanuel. Franz Schubert. Lausanne: L'Age d'homme, 1988.

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Franz Schubert. Reinbek bei Hamburg: Rowohlt, 1997.

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Dürr, Walther. Franz Schubert. Stuttgart: P. Reclam, 1991.

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Franz Schubert. London: Faber Music in association with Faber & Faber, 1991.

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Franz Schubert. New York, N.Y., U.S.A: Viking, 1991.

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Thompson, Wendy. Franz Schubert. London: Faber Music, 1991.

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Turner, Barrie. Franz Schubert. Watford: Exley Publications, 1994.

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Hammerstiel, Robert. Franz Schubert Winterreise. Wien: C. Brandstätter, 1997.

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John, Reed. Schubert. New York, NY: Schirmer Books, 1997.

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Schubert. London: Dent, 1987.

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Book chapters on the topic "Schubert, Franz"

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Dittrich, Marie-Agnes. "Franz Schubert." In Kammermusikführer, 553–74. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_114.

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Weber, Horst. "Schubert, Franz Peter." In Komponisten Lexikon, 559–65. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_282.

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Weber, Horst. "Schubert, Franz Peter." In Metzler Komponisten Lexikon, 706–14. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_274.

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Weber, Horst. "Schostakovitsch / Schubert, Franz Peter." In Komponisten, 230–39. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_45.

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"Franz Schubert." In Master Classes with Menahem Pressler, 168–91. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvktrx3v.30.

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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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Hinrichsen, Hans-Joachim. "Titelei/Inhaltsverzeichnis." In Franz Schubert, 1–6. Verlag C.H.BECK oHG, 2014. http://dx.doi.org/10.17104/9783406621369-1.

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Hinrichsen, Hans-Joachim. "6. Spätwerk in jungen Jahren." In Franz Schubert, 100–120. Verlag C.H.BECK oHG, 2014. http://dx.doi.org/10.17104/9783406621369-100.

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Hinrichsen, Hans-Joachim. "7. Epilog: Die Schubert-Rezeption." In Franz Schubert, 120–23. Verlag C.H.BECK oHG, 2014. http://dx.doi.org/10.17104/9783406621369-120.

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Hinrichsen, Hans-Joachim. "Literaturhinweise." In Franz Schubert, 123–27. Verlag C.H.BECK oHG, 2014. http://dx.doi.org/10.17104/9783406621369-123.

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Conference papers on the topic "Schubert, Franz"

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Vlahopol, Gabriela. "TYPOLOGIES OF THE SONATA FORM IN THE PIANO SONATAS OF FRANZ SCHUBERT - LANDMARKS OF CONTINUITY AND INNOVATING ELEMENTS." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s25.028.

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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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Begutova, Tatiana Sergeevna. "The Significance of Franz Schubert's Piano Sonatas in the Cultural Space." In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-530460.

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