Dissertations / Theses: 'Schubert, Franz'

1

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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3

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.

Examenskonsert

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4

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

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5

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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6

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

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7

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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8

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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9

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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10

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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11

Maintz, Marie Luise. "Franz Schubert in der Rezeption Robert Schumanns : Studien zur Äesthetik und Instrumentalmusik /." Kassel : Bärenreiter, 1995. http://catalogue.bnf.fr/ark:/12148/cb37752016f.

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12

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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13

Le, Blanc Mario 1960. "Un trait fondamental de l'écriture harmonique de Franz Schubert : la division symétrique de l'octave en trois parties." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65952.

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14

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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15

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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16

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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17

Ruiz, Patricia. "Fierrabras de Franz Schubert : un opéra "héroi͏̈que et romantique" de 1823 : contribution à l'étude de l'opéra allemand dans la première moitié du XIXe siècle." Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20026.

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Cette thèse est consacrée à l'opéra " héroique et romantique " Fierrabras, l'œuvre scénique la plus ambitieuse de Franz Schubert, mais qui n'a pas été créée du vivant du compositeur et a dû attendre longtemps une réhabilitation partielle. La première partie étudie le contexte de la genèse de l'œuvre en 1823. Le projet de Schubert et de son librettiste J. Kupelwieser est examiné au prisme de la réalité de la vie musicale à Viennes, des problèmes (quête de livrets neufs, question des dialogues parlés) posés aux compositeurs par le souci de l'élaboration d'un opéra original de langue allemande. La deuxième partie est centrée sur le texte du livret. Le parcours et les principales transformations des deux histoires ayant inspiré le sujet sont retracés jusqu'à leur réception par le XIXe siècle germanique. L'étude des sources littéraires du livret fait ressortir dans le traitement du sujet la part qui revient aux conventions de l'époque, mais aussi l'apport personnel du librettiste et du compositeur. L'importance de thèmes proches de Schubert et de son entourage intellectuel souligne la singularité du livret de Fierrabras, dont le cadre extérieur est le Moyen Age des chevaliers. L'analyse de l'opéra montre quelques références stylistiques précises qui n'empêchent pas le langage personnel de Schubert de se manifester dans la plupart des paramètres, au service d'une dramaturgie originale. Schubert maîtrise et combine les techniques compositionnelles en usage dans la musique théâtrale de son temps. Mais il innove aussi en particulier dans la construction de grandes scènes, à l'effet dramatique certain, intégrant le procédé du mélodrame. A une époque où l'opéra allemand se cherche et expérimente, il réalise avec Fierrabras une œuvre atypique et novatrice
This thesis studies the Heroic-Romantic opera Fierrabras, Schubert's most ambitious theatrical work, which was not created during the composer's lifetime and had to wait for a long time a partial rehabilitation. The first part studies the context around the work's genesis in 1823. Schubert's project is examined in face of the reality of the musical life in Vienna, of the different problems (search for new librettos, spoken dialogue) created to composers by the attempt to elaborate an original german opera. The second part is focused on the text of the libretto. The course and the transformations of the two stories which inspired the subject, are recounted until their reception by the Germanic nineteenth century. The survey of the literary sources of the libretto shows what part in the handling of the subject comes from the conventions of the time and what are the librettist's and composer's personal contributions. Themes and ideas close to Schubert and his friends are important in the text. It indicates the peculiarity of the libretto of Fierrabras, which the external setting is the medieval chivalry. The musical analysis of the opera shows some specific stylistic references which don't prevent Schubert's personal style from appearing plainly in many aspects of the language, deserving an original dramatic strategy. Schubert masters and combines all the techniques of composition used in the theatrical music of his time. But he also introduces innovation for exemple in the construction of complex scenes, with great dramatic effect, integrating melodramas. At the time where german opera experiments, he realises with Fierrabras an original work, also looking ahead

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18

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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19

Allio, Guy. "Mozart-Schubert-Beethoven : filiations." Bordeaux 2, 1989. http://www.theses.fr/1989BOR23069.

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20

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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21

Tam, Wing-Kei Ruth. "Accent markings in Schubert's piano sonatas /." Hong Kong : University of Hong Kong, 1992. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14292440.

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22

Říhová, Barbora. "F. Schubert - Klavírní kvintet "Pstruh" a další skladby stejného nástrojového obsazení." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177754.

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The diploma thesis discusses the Piano Quintet "The Trout" by the Viennese composer Franz Schubert. It includes the circumstance of it?s origin, pieces which inspired the composer to creat this work, but also the pieces which were inspired by this particular one subsequently. It includes formal and interpretive analysis of the work. A special chapter deals with two dramatic pieces that were directly inspired by Schubert?s Piano Quintet in A major. Last but not least, it lists 18 other works of the same instrumentation, created between 1799-2011.

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23

Roggero, Amanda Marie. "Retracing the Journey of Franz Schubert’s Wanderer: Musical Fingerprints in the B-flat Sonata, D. 960." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085535681.

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Black, Brian 1953. "Schubert's apprenticeship in sonata form : the early string quartets." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41985.

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Until recently, Schubert's sonata forms have been treated as the partially successful products of a classicist who often misunderstood his models. The development of sonata form in his early string quartets, though, raises serious questions about such a view. The quartets (ca. 1810 to 1816), constitute the composer's first concentrated work in large-scale instrumental music and include some of his earliest compositions in any genre. The first sonata-form movements all lack the most basic features of the structure, specifically a clearly delineated subordinate theme and subordinate key in the exposition. The evolution of Schubert's sonata form from 1810 to 1816 consists of an expansion to encompass such necessary tonal and thematic contrast. This process, however, does not lead to a close imitation of the Classical prototype but rather to a highly original reinterpretation of the form. By the end of 1814, many of the distinctive tendencies in his writing are already evident. These include (1) unusual modulatory strategies dependant upon tonal ambiguity and surprise, (2) the first signs of an intensely lyrical quality in the thematic material, (3) complementary, as opposed to derivative, thematic relationships, in which the musical discourse is divided between two contrasting motivic regions connected by underlying harmonic links and (4) a widespread allusiveness in his handling of harmony, which allows an initial harmonic event or "sensitive sonority" to become increasingly significant as the music proceeds. Ultimately Schubert's innovative approach to sonata form, while weakening the Classical attributes of clarity and conciseness, infuses a new atmosphere into the structure, making it the perfect vehicle for the expression of Romantic sentiment.

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Marjamäki, Veikko. "Franz Schubert's "Arpeggione" sonata : Style, background and role in romantic viola repertoire." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3978.

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The importance that Franz Schuberts music has on any classical musician is almost indisputable. His output stretches over all the important genres of his time and while he never wrote solo pieces specifically for the viola, one work has gained an essential status in the viola repertoire. That work being the sonata for arpeggione and piano, D. 821. Volumes have been written on Schubert, his style, early 19th century Vienna, romanticism, classicism and the formal development of the sonata form as well as the rise of the bourgeoise music scene. Perhaps less is written on the viola and especially the arpeggione. My aim in this paper is to answer the question,” why arpeggione?”. Why does this work hold such a high status in our repertoire? I shall approach this question by both presenting the sonata in question by drawing its background and generally the style and background of Schubert and early romantic Vienna, and also by introducing two alternative early romantic sonatas, both by esteemed composers and written originally for viola. Lastly, I shall dissect the mostly arrangement-related challenges of the arpeggione sonata and discuss different reasons for it having attained such an important role in spite of its problematic suitability for the viola.

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Havlíčková, Lucie. "Franz Schubert a jeho Sonáta "Arpeggione" D.821 v úpravě pro fagot a klavír." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391617.

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This diploma thesis deals with the personality of Austrian romantic composer Franz Schubert, his life and list of his compositions. It also focuses on Sonata a minor "Arpeggione" D.821, written originally for arpeggione and piano, and deals with customized parts and interpretation problems in transcription for bassoon and piano.

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LIN, YUEH-RENG. "THE IMPACT OF THE LIED ON SELECTED PIANO WORKS OF FRANZ SCHUBERT, ROBERT SHUMANN, AND JOHANNES BRAHMS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1101539626.

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Biancolino, Ticiano. "A evocação de sonoridades instrumentais na escrita para piano no ciclo Winterreise de Franz Schubert /." São Paulo : [s.n], 2008. http://hdl.handle.net/11449/95120.

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Orientador: Marcos Fernandes Pupo Nogueira
Banca: Lia Vera Thomás
Banca: Sidney Molina
Resumo: Os escritos estéticos dos autores do Frühromantik (Primeiro Romantismo), surgidos a partir das duas últimas décadas do século XVIII, constituíram a base do pensamento do Romantismo musical alemão. De vital importância dentro desta nova concepção estética foi o entendimento da música instrumental como a manifestação mais nobre das artes, algo que ia contra o preceito que vigorara até então, segundo o qual a música sem voz possuía pouco valor, por ser incapaz, apenas por meio de sons, de imitar o mundo físico e despertar sentimentos nos ouvintes. Paralelamente a esse processo, o piano - cujos primeiros modelos bem sucedidos surgiram entre 1698 e 1730 - ganhou maior repertório no último quarto do século XVIII e, ao mesmo tempo, passou a ser utilizado como substituto de formações instrumentais maiores, em reduções de sinfonias e óperas. Este trabalho trata da importância que os fenômenos de valorização da música instrumental, da formação da linguagem do piano e da utilização deste instrumento enquanto redutor da orquestra exerceram no aparecimento do Lied em princípios do século XIX, um gênero híbrido entre música e poesia e entre música vocal e música instrumental, que se contrapôs à tradição da canção estrófica setecentista. Mais especificamente, esta pesquisa investiga em qual medida a composição da parte do piano do ciclo de canções Winterreise (1827) de Franz Schubert foi realizada sobre a idéia de evocação de sonoridades de outros instrumentos, tomando por base similaridades de escrita entre determinadas passagens da obra de Schubert e aquelas retiradas de obras sinfônicas e de câmara, do próprio Schubert e de outros compositores que representaram grandes influências suas, especialmente Haydn, Mozart e Beethoven.
Abstract: The aesthetic writings by Frühromantik (Early Romantic) authors, which appeared during the last decades of the eighteenth century, became the basis of German musical conception of Romanticism. Fundamentally important that new aesthetic idea was the undestanding of instrumental music as the noblest manifestation of arts, which was against the old precept that music without singing was worthless, as it was incapable of imitating the physical world and reviving the listener's sentiments. Simultaneously, the repertoire for piano - which early successful model appeared between 1698 and 1730 - was substantially increased during the last quarter of the eighteenth century and, at the same time, gradually started to be used as a substitute for larger instrumental groups, and reductions of symphonies and operas. The present work discusses how the phenomena of instrumental music valorization, piano idiom formation and its use as a substitute for an orchestra (piano reduction) influenced the advent of Lied at the beginning of the nineteenth century - a hybrid genre between music and poetry - and between vocal and instrumental music, in opposition to the eughteenth century strophic song tradition. More specifically, this research examines how much of the piano accompaniment of Fraz Schubert's song cycle Winterreise (1827) was based on the idea of the evocation of the sonorities of other instruments, using as evidence stylistic similarities between some of the passages from Schubert's works and those extracted from symphonic and chamber pieces - by both Schubert himself and other composers, notably his major influences: Haydn, Mozart and Beethoven.
Mestre

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Biancolino, Ticiano [UNESP]. "A evocação de sonoridades instrumentais na escrita para piano no ciclo Winterreise de Franz Schubert." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/95120.

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Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-27Bitstream added on 2014-06-13T19:56:12Z : No. of bitstreams: 1 biancolino_t_me_ia.pdf: 8518794 bytes, checksum: e0883b41634079e4cc679ac8ef255b1d (MD5)
Os escritos estéticos dos autores do Frühromantik (Primeiro Romantismo), surgidos a partir das duas últimas décadas do século XVIII, constituíram a base do pensamento do Romantismo musical alemão. De vital importância dentro desta nova concepção estética foi o entendimento da música instrumental como a manifestação mais nobre das artes, algo que ia contra o preceito que vigorara até então, segundo o qual a música sem voz possuía pouco valor, por ser incapaz, apenas por meio de sons, de imitar o mundo físico e despertar sentimentos nos ouvintes. Paralelamente a esse processo, o piano - cujos primeiros modelos bem sucedidos surgiram entre 1698 e 1730 - ganhou maior repertório no último quarto do século XVIII e, ao mesmo tempo, passou a ser utilizado como substituto de formações instrumentais maiores, em reduções de sinfonias e óperas. Este trabalho trata da importância que os fenômenos de valorização da música instrumental, da formação da linguagem do piano e da utilização deste instrumento enquanto redutor da orquestra exerceram no aparecimento do Lied em princípios do século XIX, um gênero híbrido entre música e poesia e entre música vocal e música instrumental, que se contrapôs à tradição da canção estrófica setecentista. Mais especificamente, esta pesquisa investiga em qual medida a composição da parte do piano do ciclo de canções Winterreise (1827) de Franz Schubert foi realizada sobre a idéia de evocação de sonoridades de outros instrumentos, tomando por base similaridades de escrita entre determinadas passagens da obra de Schubert e aquelas retiradas de obras sinfônicas e de câmara, do próprio Schubert e de outros compositores que representaram grandes influências suas, especialmente Haydn, Mozart e Beethoven.
The aesthetic writings by Frühromantik (Early Romantic) authors, which appeared during the last decades of the eighteenth century, became the basis of German musical conception of Romanticism. Fundamentally important that new aesthetic idea was the undestanding of instrumental music as the noblest manifestation of arts, which was against the old precept that music without singing was worthless, as it was incapable of imitating the physical world and reviving the listener's sentiments. Simultaneously, the repertoire for piano - which early successful model appeared between 1698 and 1730 - was substantially increased during the last quarter of the eighteenth century and, at the same time, gradually started to be used as a substitute for larger instrumental groups, and reductions of symphonies and operas. The present work discusses how the phenomena of instrumental music valorization, piano idiom formation and its use as a substitute for an orchestra (piano reduction) influenced the advent of Lied at the beginning of the nineteenth century - a hybrid genre between music and poetry - and between vocal and instrumental music, in opposition to the eughteenth century strophic song tradition. More specifically, this research examines how much of the piano accompaniment of Fraz Schubert's song cycle Winterreise (1827) was based on the idea of the evocation of the sonorities of other instruments, using as evidence stylistic similarities between some of the passages from Schubert's works and those extracted from symphonic and chamber pieces - by both Schubert himself and other composers, notably his major influences: Haydn, Mozart and Beethoven.

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Molin, Ninni. "Vinterresa : en undersökning av tolkningsmöjligheter i Schuberts sångcykel Winterreise." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2570.

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Den här uppsatsen beskriver arbetet med utvalda delar av Schuberts sångcykel Winterreise och vilka tolkningsmöjligheter jag som kvinnlig sångare har när jag framför ett verk med manlig huvudperson. I diskussionen redogörs tre möjliga tolkningar, där den slutliga tolkningen blir att se flickan i sångerna och huvudpersonen som en och samma person. De sju utvalda sångerna kommer efter min analys att spelas in.

1. Gute Nacht. 2. Gefrorne Tränen. 3. Erstarrung. 4. Auf dem flusse. 5. Frühlingstraum. 6. Die Nebenssonen. 7. Der Leiermann. Pianist Matilda Lindholm

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Wassermann, Beirão Christine. "Musikalische Idylle : Studien zu einem verborgenen Topos /." Sinzig : Studio, 1999. http://catalogue.bnf.fr/ark:/12148/cb399961133.

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Seitz, Elizabeth A. "Die schöne Müllerin: in the context of early 19th century musical and poetic trends with an emphasis on its relation to the settings of Ludwig Berger." Thesis, Boston University, 1989. https://hdl.handle.net/2144/22550.

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Navia, Gabriel Henrique Bianco. "The Medial Caesura in Schubert's Sonata Forms: Formal and Rhetorical Complications." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/613235.

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Schubert's treatment of the medial caesura differs on many levels from that of the Classical tradition. He problematizes many of its norms, introducing complications to the course of his sonata movements. Much research has been devoted to Schubert's approach to sonata form, his large-scale formal deformations as well as his innovative harmonic language. However, few of these writings have discussed the importance of the medial caesura to his sonata forms. Through the lens of Sonata Theory, this dissertation examines Schubert's handling of the MC, demonstrating how the complications derived from his unorthodox practice modify the structural and rhetorical layout of his pieces. I investigate Schubert's approach to three stages surrounding the MC articulation, TR and the energy-gaining process, the MC point of articulation, and the S-theme, discussing specific formal and rhetorical complications that arise from each of them. In chapter 1, I reconsider Schubert's MC practice from a dialogical perspective, demonstrating how some non-normative procedures (in Classical terms) became the norm within his own style. In chapter 2, I examine the impact of two common Schubertian procedures on the function, perception, and meaning of the MC: tonally over-determined TRs and the early arrival of the secondary key within TR. Finally, in chapter 3, I demonstrate how Schubert broadened the available cadential arrangements within MC pairs in declined-MC situations, exploring the expressive potential of normative/non-normative dual oppositions. The conclusion shows that 1) Schubert's stylistic preferences radically expand many of the default procedures posited by Sonata Theory, inviting refinements of the theory; and 2) that the Schubertian MC may incorporate two structural roles beyond its most fundamental function as a formal articulator: clarification of the function of a formally ambiguous passage, which is often connected to cases of tonal over-determination or the early arrival of the secondary key; and introduction of tonal and formal complications into the work's trajectory, invoking some kind of "correction" or compensation.

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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 during his lifetime, and he gave just one public concert of his works, on March 26, 1828 in Vienna. According to Hans Gal: "In 1828 there were the beginnings of an improvement in his circumstances. His songs were becoming more widely known, German publishers were beginning to show an interest in his music, and Schubert was induced by his friends to give a public recital of his works. It was his first and last... Schubert's supporters could easily fill a hall, and the undertaking was both artistically and financially a great success."

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Fourie, Magdalena Johanna. "'n Ondersoek na sangpedagogiek met besondere verwysing na die Schubert-liedere as onderrigliteratuur." Thesis, Stellenbosch : Stellenbosch University, 1986. http://hdl.handle.net/10019.1/65285.

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Thesis (MMus) - Stellenbosch University , 1986.
INLEIDING: By die instudeer van 'n aantal Schubert-liedere het die skryfster onder die indruk gekom van nie alleen die skoonheid van die poëtiese en musikale inhoud nie, maar veral ook die pedagogiese waarde daarvan. 'n Behoefte om die potensiaal van die Schubert-liedere as onderrigmateriaal te ondersoek, het ontstaan.

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Schubert, Franz, and Matthias Drude. "Am Meer: Aus dem „Schwanengesang“, Text: Heinrich Heine, Franz Schubert (1828), Männerchorsatz: Matthias Drude: Männerchor und Klavier." Concertino Musikverlag, 2011. https://slub.qucosa.de/id/qucosa%3A7856.

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'Am Meer' ist ein Lied von Franz Schubert (1797-1828) für Singstimme und Klavier aus dem Zyklus 'Schwanengesang' (Text: Heinrich Heine). Matthias Drude hat dieses für Männerchor und Klavier bearbeitet. Veröffentlichung auf Qucosa mit freundlicher Genehmigung des Concertino-Musikverlags.

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Vallés, Grau Luis. "El piano en los Lieder de Franz Schubert. Un cambio en la concepción del acompañamiento pianístico." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/88392.

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The investigation tries to discover and demonstrate the inflection point in the conception of the piano accompaniment that Franz Schubert carried out across its lieder. It will be possible to verify the conceptual evolution of the vocal piano accompaniment from its beginnings up to the actuality, and how Schubert changed its configuration, affecting its exposition to the later development of the same one. For it we have analyzed the piano part so much of the lieder of Schubert as of the compositions for voice and piano previous and later to him, by means of the selection of the most excellent lieder for our study. This way we have established the meeting points and the differences between the conception of the piano accompaniment of Schubert and the rest of composers. Fruit of this analysis we will know how every composer understands the role of the piano in the vocal works with piano accompaniment this way to realize a compared study, being able to clarify its resemblances and/or differences. Once established we will be able to constitute the significant elements that Schubert and its contribution uses to the conception of the later piano accompaniment.
La investigación pretende descubrir y demostrar el punto de inflexión en la concepción del acompañamiento pianístico que efectuó Franz Schubert a través de sus lieder. Se podrá comprobar la evolución conceptual del acompañamiento pianístico vocal desde sus inicios hasta la actualidad, y cómo Schubert cambió su configuración, afectando su planteamiento al desarrollo posterior del mismo. Para ello hemos analizado la parte pianística tanto de los lieder de Schubert como de las composiciones para voz y piano anteriores y posteriores a él, mediante la selección de los lieder más relevantes para nuestro estudio. De este modo hemos establecido los puntos de encuentro y las diferencias entre la concepción del acompañamiento pianístico de Schubert y el resto de compositores. Fruto de este análisis conoceremos cómo entiende cada compositor el papel del piano en las obras vocales con acompañamiento pianístico para así realizar un estudio comparado, pudiendo esclarecer sus semejanzas y/o diferencias. Una vez establecidas podremos constituir los elementos significativos que utiliza Schubert y su aportación a la concepción del acompañamiento pianístico posterior.
La investigació pretén descobrir i demostrar el punt d'inflexió en la concepció de l'acompanyament pianístic que va efectuar Franz Schubert mitjançant els seus lieder. Es podrá comprovar l'evolució conceptual de l'acompanyament pianístic des dels seus orígens fins l'actualitat, i la manera per la qual Schubert va canviar la seua configuració, afectant el seu plantejament al desenvolupament posterior de l'acompanyament. Per a esta tasca hem analitzat la part panística tant dels lieder de Schubert com de les composicions per a veu i piano anteriors i posterior a ell, mitjançant la selecció dels lieder més rellevants per al nostre estudi. D'esta manera hem establert els punts de trobada i les diferències entre la concepció de l'acompanyament pianístic de Schubert i la resta de compositors. Fruït de esta anàlisi coneixerem com entén cada compositor el paper del piano dins les obres vocals amb acompanyament pianístic per a realitzar així un estudi comparatiu entre ells, clarificant d'esta manera les semblances i/o les diferències. Una vegada constituïdes podrem enumerar els elements significatius que utilitza Schubert i la seua aportació a la concepció de l'acompanyament pianístic.
Vallés Grau, L. (2017). El piano en los Lieder de Franz Schubert. Un cambio en la concepción del acompañamiento pianístico [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/88392
TESIS

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Jernhake, Klaes-Göran. "Schuberts "Stora C-dursymfoni" - kommunikationen med ett musikaliskt konstverk : en tillämpning av Paul Ricoeurs tolkningsbegrepp /." Uppsala : [K.-G. Jernhake], 1999. http://catalogue.bnf.fr/ark:/12148/cb370888066.

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Lanyi, Franz J. [Verfasser], Dirk W. [Akademischer Betreuer] Schubert, Dirk W. [Gutachter] Schubert, and Rainer [Gutachter] Adelung. "Modification of Interfacial Properties of Polypropylene Fibers using Hydrophilic Melt Additives - Interactions with Crystallization / Franz J. Lanyi ; Gutachter: Dirk W. Schubert, Rainer Adelung ; Betreuer: Dirk W. Schubert." Erlangen : FAU University Press, 2020. http://d-nb.info/1220911240/34.

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Doktorchik, Acacia M., and University of Lethbridge Faculty of Fine Arts. "Sehnsucht and alienation in Schubert's Mignon settings / Acacia M. Doktorchik." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Music, c2011, 2011. http://hdl.handle.net/10133/3051.

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Sehnsucht (longing) and alienation were two central themes of 19th century German Romanticism in literature, music and art. Franz Schubert was one of the great masters of the Romantic era to understand and express these intense emotions through his compositions. This paper discusses Sehnsucht and alienation in Schubert’s settings of the Mignon songs from Johann Wolfgang von Goethe’s novel Wilhelm Meisters Lehjahre (Master William’s Apprenticeship). Mignon, a secondary character in this novel, is a prime example of one who experiences these emotions and whose principal medium of expressing herself is through her five songs. My thesis focuses on how Schubert portrays Mignon’s longing through use of dissonance, harmonic progressions, melodic contour and shifts in vocal register.
iv, 46 leaves ; 29 cm

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Rettler, Erik Franz-Josef [Verfasser], Ulrich Sigmar [Akademischer Betreuer] Schubert, and Heinz Wilhelm [Akademischer Betreuer] Siesler. "Depth-sensing indentation of soft matter / Erik Franz-Josef Rettler. Gutachter: Ulrich Sigmar Schubert ; Heinz Wilhelm Siesler." Jena : Thüringer Universitäts- und Landesbibliothek Jena, 2014. http://d-nb.info/1047578921/34.

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Lin, Yueh-Reng. "The impact of the lied on selected piano works of Franz Schubert, Robert Schumann, and Johannes Brahms." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1101539626.

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Rakitzis, Vasileios. "Alfred Cortot's response to the music for solo piano of Franz Schubert : a study in performance practice." Thesis, City, University of London, 2015. http://openaccess.city.ac.uk/16965/.

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Alfred Cortot and Franz Schubert are two names that are rarely mentioned in the same context. Although Cortot was a renowned pianist and pedagogue of the first half of the twentieth century, his work on Schubert has remained obscure. This can be explained by the fact that his recordings of, and writings on, Schubert’s works comprise only a small sample of his affinity with this repertoire, in comparison to his affiliation to the work of other composers, such as Chopin. This degree of obscurity is also increased by the fact that, to a certain extent, Schubert’s works for piano remained neglected until early in the twentieth century, in contrast to his great reputation as a composer of Lieder. However, the study of Cortot’s recordings and commentary editions of Schubert’s piano music reveals that Cortot can potentially be a relevant source for the performance of this repertoire. Due to his educational background and the roots of his performance style, he can be a link to performance traditions of the late nineteenth century, which comprise important sources for the performance of Schubert’s work, especially given the notable lack of primary evidence specific to this music. Cortot’s editions discuss issues, which are still current regarding the performance of Schubert’s works, and provide answers, which are comparable with modern and updated approaches. On the other hand, Cortot’s editions and recordings of Schubert’s music cover a range of time within the twentieth century (1920-1960) that encompassed some of the greatest changes in performance styles that have ever been documented in writing and in sound. His work therefore also becomes a valuable source for the study of this evolution and the way it might have been realized and influenced by leading artists of the twentieth century. This thesis aims to present Cortot’s work as an inspiring source for the interpretation of Schubert’s music today, and as an important testimony to the history of performance practice.

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Litschauer, Walburga. "«Musik als Text»: Anmerkungen zu einem Register von Schuberts Tanzmelodien." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37117.

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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 accomplishing this. Liszt also frequently transcribed pieces of a particular composer in order to promulgate them by featuring them in his recitals. The Schubert lieder fall into this category. Liszt did not drastically alter the original in these compositions. Indeed, in the cases of "Liebesbotschaft" and "Das Wandern," very little alteration beyond the incorporation of the melody into the piano accompaniment, occurs.Godowsky, in contrast, viewed the transcription as a vehicle for composing a new piece. He intended to improve upon the original by adding his own inspiration to it. Godowsky was particularly ingenious in adding counterpoint, often chromatic, to the original. Examples of Godowsky's use of counterpoint can be found in "Das Wandern" and "Gute Nacht." While Liszt strove to remain faithful to Schubert's intentions, Godowsky exercised his ingenuity at will, being only loosely concerned with the texture and atmosphere of the lieder. "Gute Nacht" and "Liebesbotschaft" are two examples that show how far afield Godowsky could stray from the original by the addition of chromatic voicing and counterpoint. Godowsky*s compositions can be viewed as perhaps the final statement on the possibilities of piano writing in the traditional sense. As such these works deserve to be investigated and performed.

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Cho, Sujung. "Performance Challenges and Their Possible Solutions: Franz Schubert’s Piano Sonata in B-flat Major, D. 960." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1312294162.

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Hascher, Xavier. "Aspects de l'évolution de la forme sonate au début du dix-neuvième siècle : à travers son traitement dans l'oeuvre instrumental de Franz Schubert." Paris 1, 1994. http://www.theses.fr/1994PA010654.

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Le début du dix-neuvième siècle constitue pour la musique allemande une transition entre deux âges successifs de la conscience harmonique, l’âge de la quinte - ou le classicisme - et celui de la tierce - ou le romantisme. L'œuvre de Franz Schubert représente la première tentative en vue de structurer la forme musicale au moyen de l'utilisation de progressions de tierces a tous les niveaux de celle-ci, sauvegardant toutefois le rapport fondamental de quinte essentiel à la sonate. L'émergence de nouveaux modèles structurels est ainsi mise en évidence, en même temps que se trouve proposée une typologie des développement à partir de leur structure tonale. Présentant une analyse exhaustive de l'œuvre instrumental schubertien à travers sa dimension harmonique, la thèse pose les jalons d'une étude de son nécessaire complément, la dimension architecturale de la forme
The first decades of the nineteenth century saw a period of transition between two successive periods of harmonic consciousness in german music, the age of the fifth - or classicism - and that of the third - or romanticism. Schubert's output represents the first attempt at organizing musical form through the use of third-progressions at all structural levels, while preserving the fundamental fifthrelationship which is essential to the sonata. This thesis both brings to the fore the emergence of new formal models and proposes a classification of development sections according to their tonal structure. It also provides an exhaustive analysis of the harmonic dimension of schubert's instrumental works, laying the foundations for a further study of its necessary complement, the architectural dimension of form

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Schubert, Daniela [Verfasser], Franz-Viktor [Akademischer Betreuer] Salomon, and Ellen [Gutachter] Kienzle. "Untersuchungen zum postnatalen Skelett- und Körpermassewachstum von Hunden der Rasse West Highland White Terrier / Daniela Schubert ; Gutachter: Ellen Kienzle ; Betreuer: Franz-Viktor Salomon." Leipzig : Universitätsbibliothek Leipzig, 2011. http://d-nb.info/1237818265/34.

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Domingues, Melissa Sofner 1990. "Gretchen am Spinnrade : um estudo analítico-interpretativo de quatro Lieder compostos sobre o mesmo poema de J. W. von Goethe." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284624.

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Orientador: Adriana Giarola Kayama
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-25T18:27:46Z (GMT). No. of bitstreams: 1 Domingues_MelissaSofner_M.pdf: 9593128 bytes, checksum: 711d2f83f4953c663a8135590bbcf06b (MD5) Previous issue date: 2014
Resumo: Música e poesia. Como as duas artes interagem, que significados são criados, reiterados, modificados e como a performance se constrói e se enriquece a partir desta interação é a reflexão que impulsiona o presente trabalho. Propomos uma análise músico-textual visando a interpretação e performance de quatro Lieder do período Romântico construídos sobre o poema Gretchen am Spinnrade de J. W. Goethe. Serão contempladas as canções dos compositores Louis Spohr (Gretchen), Franz Schubert (Gretchen am Spinnrade), Carl Loewe (Meine Ruh ist hin), e Richard Wagner (Meine Ruh ist hin). Para isso, é feita uma introdução sobre o gênero Lied e sobre o poeta. Em seguida, é proposta uma análise literária do poema, que servirá de base para a interpretação das canções. São abordados aspectos conteudísticos e formais do texto, assim como sua contextualização dentro da peça Fausto I, de que foi extraído. Em seguida, é feita uma análise musical das obras, com foco nas relações texto-música presentes e contemplando aspectos tanto da linha vocal quanto do acompanhamento. Ao longo da análise são feitas sugestões interpretativas baseadas nas relações texto-música
Abstract: Music and Poetry. How the two art forms interact, what meanings are created, emphasized, modified and how the performance is built and enriched from this interaction is the reflection that impels the present work. A text-music analysis aiming towards the interpretation and performance of four Lieder - settings from the Romantic period of the poem Gretchen am Spinnrade from J. W. Goethe is presented here. The settings of Louis Spohr (Gretchen), Franz Schubert (Gretchen am Spinnrade), Carl Loewe (Meine Ruh ist hin), e Richard Wagner (Meine Ruh ist hin) will be approached. After introductory considerations about the genre Lied and about the poet are made, an analysis of the poem is presented, which will ground the interpretation of the songs. Content and formal aspects of the text are considered, as well as its contextualization in the play Faust I, from where it was extracted. Afterwards, a musical analysis of the songs is presented, focusing on the existing text-music relations and taking aspects from the vocal line as well as the accompaniment into consideration. During the analysis interpretative suggestions are made, based on the text-music relations
Mestrado
Praticas Interpretativas
Mestra em Música

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Nevalainen, L. (Lotta). "Das Motiv des Baches im Liederkreis Die schöne Müllerin:eine hermeneutische Analyse der Gedichte von Wilhelm Müller (1821) und der Vertonung von Franz Schubert (1823)." Bachelor's thesis, University of Oulu, 2018. http://urn.fi/URN:NBN:fi:oulu-201805312355.

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Dissertations / Theses on the topic 'Schubert, Franz'

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