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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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Levyatov, Yoni. "A Collection of Ten Schubert Songs Transcribed for the Piano." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236420.
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Music PerformanceD.M.A.
A Collection of Ten Schubert Songs Transcribed for the Piano Yoni Levyatov Doctor of Musical Arts Temple University, 2012 Doctoral Advisor Committee Chair: Dr. Charles Abramovic The objective of this project is the creation of a collection of ten songs by Franz Schubert, freely transcribed for solo piano: 1) "Gute Nacht" D.911 2) "An die Laute" D.905 3) "Memnon" D.541 4) "Wilkommen und Abschied" D.767 5) "Greisengesang" D.778 6) "Todesmusik" D.758 7) "Der Goldschmiedsgesell" D.560 8) "Das Fischermädchen" D.957 9) "Das Lied im Grünen" D.917 10) "Der Strom" D.565 These are written bearing in mind the general history of piano transcriptions as originated (in the modern sense) by Franz Liszt, the greatest of all transcribers for the piano, as well as other figures, such as Feruccio Busoni and Leopold Godowsky. The primary reason behind Liszt's idea of transcribing several Schubert song cycles, as well as singular lieder, was to popularize those works, and thus make them available to the common 19th century amateur, who was quite at home at the piano and usually wished to be able to reproduce favorite pieces with his own two hands. or in a four-hand collaboration. Liszt was also interested in raising awareness of these works, which were less popular and treated less seriously than they are today. At present such transcriptions may be done not only for the reasons described above, but also as a modern stylization, utilizing the many pianistic and compositional devices that have emerged since the 19th century. Some of the songs transcribed in my collection deviate considerably from the original accompaniment textures. Schubert, particularly in the strophic songs, tends to use consistent figures that hardly change with each repetition. The transcription medium allows an expansion of that, as well as use of many colorful and expressive pianistic idioms to reflect the text and the different stages of plot development. A rather extreme example of transcription taken to the point of re-composition that I discuss and use as a reference is the Schubert's Winterreise-Eine komponierte Interpretation (1993) by Hans Zender - a piece in which the composer explores the textual and musical possibilities in orchestrating his interpretation of the score for a tenor and a small orchestra. A similar treatment of Schubert, but for solo piano, as opposed to an orchestra, is one of the novelties in this project. The song that has been transcribed with a particular reference to Zender's work is Gute Nacht, which opens both Zender's and Liszt's transcriptions, following Schubert's original. Another significant point of reference in this project is taken from Liszt's transcription of "Das Fischermädchen" " from the "Schwanengesang" D.957. It is one of only two lieder in my collection also existing in another transcription which has been a part of the common piano repertoire. Liszt's treatment stands somewhat in between what would be a more common and literal transcription of the day in the 1840s and Zender's psychological re-composition and my transcription pays an homage to that. The implications of this project may bring a wider recognition to the validity of the transcription genre, and an expansion of the modern piano transcriptions repertoire, which is somewhat limited due to its unpopularity among current composers.
Temple University--Theses
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Camp, Douglas Wayne. "The Preparation and Performance of Selected Schubert Songs for Bass Trombone and Piano." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195369.
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This document will examine how Schubert's songs can be used to increase the existing bass trombone solo literature. The primary focus is on the process of selecting, organizing, and arranging songs for the purpose of creating an original instrumental performance edition. The document will discuss elements that influence individual song selection, compositional attributes of the music, the drama represented through the text, and the boundaries these expressive components impose on the arranging process. The arranging process is discussed for nine individual songs including compositional elements which might influence the ordering of songs in a specific performance. A brief historic discussion overviews the role of the bass trombone in early nineteenth-century classical music, Schubert's life in regards to his contribution to song literature, and the influence of politics and economics during Schubert's life. An extensive Appendices contains a recommended list of Schubert lieder recordings, detailed text translations, bass trombone solo parts and full piano scores for all nine songs arranged for this document.
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Kim, Ah Young. "A Guide to Franz Liszt's Piano Transcriptions of Franz Schubert's Songs." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984280/.
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Franz Liszt (1811-1886) made fifty-six transcriptions of Schubert's songs over a period of eight years (1838-46) to introduce the name of the composer, who was little known both in and outside Vienna during his lifetime. Because Liszt intentionally preserved all the details of the original songs, these transcriptions present challenges for a pianist, such as how to produce a vocal line on the piano, as well as interpretive issues such as ornamentation, style, and conveying the meaning of the lyrics on the piano. The purpose of this study is to introduce pianists to study practices employed by singers, with the goal of interpreting the vocal aspects of Liszt's Schubert song transcriptions. The composer Robert Schumann once remarked that Liszt's transcriptions were perhaps the most difficult pieces written for the piano up to that time, and only an intelligent artist could satisfy Liszt's high level of virtuosity without destroying the identity of the original work. This could be considered a warning to pianists not to focus on the technical aspects only. The pedagogical guide presented in the study, based on singers' approaches to the actual songs, should help pianists to "see beyond the notes" and achieve a performance closer to the heart of the songs.
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Wyatt, Susan Beth Masters. "Kurt Weill: a Song Composer in Wartime with Three Recitals of Selected Works of Mozart, Strauss, Bach, Schubert, and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277791/.
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During World War II the composer Kurt Weill was in America writing for the Broadway stage. On August 27, 1943, he became an American citizen and was eager to volunteer his talent to the American war effort. Among his many wartime musical contributions are fourteen songs, all with war-related texts, which can be divided into three distinct groups: the American propaganda songs (8), the German propaganda songs (2), and the Walt Whitman songs (4). It is the purpose of this paper to present a comparative analysis of a representative group of these war songs (two from each group) in order to illustrate Weill's musical versatility. The American propaganda songs were written in a purely popular song style; sung by Broadway actors; directed toward an American audience; with texts by the Broadway lyricist Oscar Hammerstein II and the Hollywood movie executive Howard Dietz. The German propaganda songs were written in a cabaret song style; sung in German by Weill's wife, Lotte Lenya; directed toward a German audience behind enemy lines; with texts by the German playwright Bertolt Brecht and the German cabaret writer Walter Mehring. The Four Walt Whitman Songs were written in a classical art song style; sung by classically trained singers; directed toward a general audience; with texts by the nineteenth-century American poet Walt Whitman. After an initial discussion of Weill's early musical training and career in Europe, his exile from Germany, his reception in America, and his contributions to the American war effort, each group of war songs is analyzed musically, textually, vocally, in reference to the audience to whom it was directed, and with regards to vocal performance practice. Comparisons and conclusions are then drawn. Kurt Weill's war songs are valuable for musical study, both in terms of examining his ability to write equally well in various musical styles and as an opportunity to learn more about music and society during the turbulent years' of World War II.
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Hansen, Robert H. (Robert Howard). "The Songs of Lennox Berkeley: A Lecture Recital, Together with Three Recitals of Selected Works of F.P. Schubert, G. Fauré, C. Debussy, F. Poulenc, M. Ravel, H. Wolf, J.S. Bach, G.F. Handel, I. Stravinsky, and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc332223/.
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The English art song in the 20th-century presents a performance challenge unique in the solo song repertoire. Unlike the corresponding bodies of German Lied and French mélodie, which proceeded from a well-ingrained national tradition of music and poetry, the English art song had no such background. The many British composers who have contributed to the song literature of this century reflect varied backgrounds and influences. Lennox Berkeley combined his English heritage with the French background of his mother's family, largely self-taught musical skills and an innate sensitivity to poetry to become one of the most prominent song composers of this century. He trained with Nadia Boulanger, gaining exposure to the formal and melodic techniques of Faure and the neo-classicism of Stravinsky. Berkeley composed a total of seventy-eight solo songs. His acceptance and furtherance of a fundamentally traditional songmaker's craft place him more directly in the post-war line of succession of English song than Benjamin Britten, whose innovative musical techniques place him in the vanguard of new music.This document explores those aspects of Berkeley's life and work that contribute to his compositional choices. It provides an overview of all of Berkeley's known solo songs as well as a more detailed analysis of Five Songs (Walter de la Mare), Five Poems CW.H. Auden) and Another Spring. The paper illustrates the qualities of Berkeley's songs which justify his inclusion among the most successful art song composers of this century
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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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Bolthouse, Colleen R. "Was Ist Silvia? Englanderin Oder Deutsche? Restoring the Orignial English Texts to Songs Schubert Set in Translation, a Lecture Recital, Together with Three Recitals of Selected Works of H. Purcell, G. F. Handel, W. A. Mozart, F. Schubert, J. Brahms, H. Wolf, F. Poulenc and Others." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279276/.
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Because of the lack of information concerning the success or failure of Schubert's bilingual edition and concerning the relationship between the English texts and Schubert's settings, most performers take the conservative route of performing both the songs from Lady of the Lake and the rest of Schubert's English song repertoire only with the German translations. Because of the desirability of performing this repertoire in English for English-speaking audiences, this study examines all of the English songs of Schubert to determine whether the original poems can be successfully substituted for the German translations. Editions of the settings that can be effectively performed with the English texts are included in the appendix, in order to make available editions which reflect Schubert's ambition to make his songs easily accessible to non-German-speaking audiences.
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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 KayamaDissertação (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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Bretherton, David Tom. "The poetics of Schubert's song-forms." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491569.
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Combining the previously distinct genres of the traditional Tied and dramatic ballad is arguably Schubert's greatest contribution to song. Whilst the former is typically strophic the latter relies heavily on through-composition; combining the two allowed him to compose far more sophisticated song-forms in the service of musico-poetic expression. My thesis examines Schubert's songs from this perspective, and a central concern is the important role that recomposition of reprised material plays in his tertiary-form settings.
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Caton, Anke Theresa. "Disenchantment during the Biedermeier period : political subtexts in Schubert's songs." Thesis, Cardiff University, 2011. http://orca.cf.ac.uk/54468/.
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Even today Franz Schubert is belittled by many music enthusiasts as a typical Biedermeier composer, whose works appear to be of a purely lyrical and innocent character. Schubert composed over 600 songs and his image as a song composer generally fosters the lighthearted and almost naive view of his oeuvre. This thesis will enrich the common view of Schubert and his songs. It will show that some of his apparently innocent songs may bring forward direct political criticism or hold political implications their seemingly lyrical and innocent appearance turning out to be a clever facade. The motivation for the political voice in Schubert's songs is found in the composer's historical, political and social environment, which will be summarized at the beginning of this thesis. Thereafter, special attention will be drawn to songs by Schubert's close friend, Johann Mayrhofer. Schubert's Mayrhofer settings give evidence of a questioning liberal voice. They bring forward different ways in which political criticism can be voiced and show how the composer was willingly engaged with such matter. A look at Schubert settings by poets other than Mayrhofer suggests that political traces can also be found elsewhere in the composer's song oeuvre.
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West, Ewan Donald. "Schubert's Lieder in context : aspects of song in Vienna 1778-1828." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306522.
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Sherman, Philip. "Where words leave off, music begins : A comparison of how Henry Purcell and Franz Schubert convey text through their music in the compositions Music for a while and Erlkönig." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2342.
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”The singer is always working through a text that in some way or another inspired the vocal line and its texture,” wrote American pianist, pedagogue, and author Thomas Grubb. But exactly how does a text inspire a composer to create this synergy between words and music? During the course of my studies at the Royal College of Music in Stockholm, I gradually began to deepen my knowledge and awareness of Henry Purcell and Franz Schubert. I was at once astounded by their ability to seemlessly amalgamate the chosen texts to their music, and decided that this connection required greater research. The purpose of this study was thus to gain a deeper understanding of how Purcell and Schubert approached the relationship between text and music by studying the two pieces Music for a while and Erlkönig. I also wished to discover any similarities and differences between the composers’ approaches to word painting, in addition to discerning the role of the accompaniment to further illustrate the narrative. I began by reading literature about the two composers as well as John Dryden and Johann Wolfgang von Goethe, the poets whose texts were set to music. Once a greater understanding of them had been attained, I proceeded to analyze the texts and music for a greater comprehension of Purcell’s and Schubert’s methods. For early inspiration, I listened to numerous versions of the pieces by different musicians on YouTube. Both Purcell and Schubert used various tools in their compositional arsenals to accomplish their effortless combination of text and music. Amongst others, Purcell employed tonal ambiguity, unexpected harmonies, and repetition, while Schubert made use of vivid imagery, inventive treatment of chromaticism, and unmistakable rhythmic motifs. The analysis demonstrated that, while both composers painted lively and dramatic pictures in their compositions, their methods were strikingly different. The role of the accompaniment in Music for a while leaves much to the individual taste and ability of the instrumentalist(s) performing to assist the singer in setting the scene. In contrast, Schubert instructs the pianist in Erlkönig explicitly how they are to play, while additionally the piano personifies the fifth character in the story, the horse. Indeed, the role of the singer in the two pieces is equally at variance with the other. With Purcell, the singer portrays a priest, while the singer in Erlkönig personifies four different voices, each with their own melody, character, and tessitura. I hope this study will inspire others to delve deeper into the material with which they work to offer a more profound understanding to themselves and, ultimately, the listener.
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Williamson, Deborah. "A Performer's Analysis of Lili Boulanger's Clairières dans le ciel: Song Cycle for High Voice and Piano; a Lecture Recital Together with the Role of Blanche in Dialogues of the Carmelites by F. Poulenc and Two Recitals of Selected Works by H. Purcell, F. Schubert, S. Prokofieff, E. Chausson, W. A. Mozart, R. Schumann and G. Fauré." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc3022/.
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Lili Boulanger was an important composer of early twentieth century French music. Her compositional style represents a development and mastery of musical techniques of the great composers of her time including Fauré, Debussy and Wagner combined with her own creative expression. The result is a compelling musical language that was uniquely her own. She held an important place among her contemporaries in Paris and her accomplishments were considered newsworthy during her lifetime (1893- 1918). She obtained a much sought-after publishing contract with Ricordi. Her more famous sister, Nadia Boulanger, felt that Lili was the better composer of the two, and her peers and music professors clearly felt that both her musical and personal qualities were extraordinary. Evidence of her intelligence, creativity, and artistic growth can be seen in her music. As the first woman to win the Prix de Rome (July 5, 1913), Lili Boulanger, unlike Clara Schumann, Fanny Mendelssohn, or Alma Mahler, was acknowledged and acclaimed during her lifetime for her skill as a composer. Yet, nearly a century later the music of this talented French composer is not as well known as it deserves to be. In an effort to discover the reasons for this relative anonymity, this document will examine Lili Boulanger's life including her family and childhood influences, musical training, preparation for the Prix de Rome and the influence of Claude Debussy and other composers. This document will discuss her mature compositional style, specifically as it is reflected in her song cycle, Clairières dans le ciel. The text will be examined in conjunction with the literary movement of symbolism in 20th century France and the symbolist poet, Francis Jammes, with special attention to the composer's personal identification with the poetry. Considerations of the musical setting of the cycle will include the melodic style as it relates to the text, the harmonic idiom and its relation to the poetry, rhythmic and metrical devices used, formal devices and the relationship of the piano accompaniment and the voice. Performance considerations for this cycle include the recommended transpositions if performed by soprano rather than the tenor voice for which it was originally composed and the level of difficulty from an interpretative as well as technical standpoint.
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Chae, Eunhee. "Jules Massenet's Musical Prosody Focusing on His Eight Song Cycles And A Collection, Expressions Lyriques: A Lecture Recital, Together with Recitals of Selected Works of W. A. Mozart, F. Schubert, C. Debussy, R. Strauss, D. Argento, V. Bellini, J. Marx, W. Walton, C. Gounod, A. Scarlatti, G. Fauré, J. Rodrigo, H. Wolf, and Others." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2727/.
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Jules Massenet's mélodies feature a distinct vocal treatment regarding musical prosody through his eight song cycles, including Poëme d'Avril, Poëme Pastoral, Poëme du Souvenir, Poëme d'Amour, Poëme d'Hiver, Poëme d'un Soir, and Quelques Chansons Mauves, and a collection, Expressions Lyriques. These mélodies show the influence of the trend of salon music and the high-level poetry from the poetic movements of romanticism, Parnassianism, and symbolism. This study deals with Massenet's mélodies relating to the prosody idea, which is conspicuous in his vocal treatment. His melodic styles feature four distinct aspects of vocal treatment including lyrical, recitative or parlando, melodramatic, and déclamation rhythmée, and represent the idea of musical prosody of phonetic, syntactic, and semantic aspects. Massenet's other musical idioms such as harmony, form, and piano treatment, are also closely related to the prosody matter as a semantic aspect, reinforcing the poetic mood and content. In this study, each melodic style related to French versification is examined in detail. The musical analysis regarding the other musical idioms on selected examples presents the semantic feature of prosody idea. The brief review of French versification and opinions regarding the performance are included. Massenet's contribution to the genre of mélodie, with the prose melody and treatment of piano as an equal partner of voice line, is clearly demonstrated. With this contribution, Massenet should be recognized as the most influential composer to the climatic time of French mélodie led by Fauré, and Debussy, and Duparc.
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Williamson, Deborah. "A performer's analysis of Lili Boulanger's Clairières dans le ciel song cycle for high voice and piano : a lecture recital together with the role of Blanche in Dialogues of the Carmelites by F. Poulenc and two recitals of selected works by H. Purcell, F. Schubert, S. Prokofieff, E. Chausson, W.A. Mozart, R. Schumann and G. Fauré /." connect to online resource, 2001. http://www.library.unt.edu/theses/open/20013/williamson%5Fdeborah/index.htm.
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Mockett, Kazuko Hirabayashi. ""Enhancement of poetic contexts" in Schubert's songs." Diss., 1998. http://catalog.hathitrust.org/api/volumes/oclc/39178175.html.
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Quantz, Donald E. "The part-songs of Franz Schubert." 1992. http://hdl.handle.net/1993/18583.
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Yeh, Hsin-I., and 葉欣怡. "About Schubert''s Four Songs which Related to Gretchen." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/72ytx9.
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Tseng, Ya-yi, and 曾雅怡. "The Last Three Four-part Female Part-songs by Franz Schubert." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/95784683684348430572.
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碩士國立中山大學
音樂學系研究所
88
The women’s chorus has been a minor category in the bulk of western music history. It was not until the nineteenth century that a female chorus had the opportunity to perform as the same way that a male or mixed chorus had. Only then, did composers start to compose part-songs for female chorus, and Schubert is one of the pioneers. He composed nine pieces for female chorus. Two of them were done as assignments while a student when he was young (1812). Three short pieces were finished in 1815-16. Even in these early pieces his sensitivity to German text and gift for setting the text to music are clearly shown. In 1820-27, Schubert finished four female choral works. Three of them were four-part-- “Psalm 23”, “Gott in der Natur”, “Stänchen”. These three pieces are the best in all Schubert’s female choral works. The tonality is more fully developed, and the length is almost four times longer than before. More imitation is used, composed with homophonic texture than is used in the first five pieces. Schubert had demonstrated a strong desire to express the text freely with all types of musical techniques from the early Romantic Period. This master’s thesis consists of five chapters. The first chapter is an introduction. The second chapter offers some historical background and can be divided into three sections. First is a concise report about female chorus’s development in western music history. The second part discusses the definition of 19th century style and how the contemporary background influenced the part-songs. The third section gives a general review of Schubert’s female choral works. Chapter Three is a detailed analysis of the final three four-part female works. Derived from Chapter Three (i. e. based on the analysis), Chapter four proposes a teaching procedure when a director or a school teacher wants to perform any of these three numbers. Some performance considerations and conducting suggestions are also included. The final Chapter is conclusion for the entire research. Two appendixes are included: one is the translations and IPA phonetics for the German texts; the other is a list of the publishers for Schubert female chorus works.
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Chuang, Hao-Fang, and 莊皓芳. "The Comparison and interpretation of Four Mignon Songs by Schubert and Wolf." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/10735312700417093842.
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碩士國立臺灣師範大學
音樂研究所
93
CHAPTER 1 INTRODUCTION 1-1 Motives and Objectives 1-2 Research Significance 1-3 Thesis Organization 1-4 Reference CHAPTER 2 GOETHE''S WILHELM MEISTER 2-1 Background of Wilhelm Meister 2-2 Abstract of Wilhelm Meister 2-3 Goethe''s Works and German Lieder 2-4 Who is Mignon? CHAPTER 3 SCHUBERT AND WOLF 3-1 Schubert''s Song Style 3-2 Schubert''s Mignon Compositions 3-3 Wolf''s Song Style 3-4 Wolf''s Mignon Compositions CHAPTER 4 BACKGROUND AND TRANSLATIONS OF FOUR MIGNON SONGS 4-1 Kennst du das Land? 4-2 Nur wer die Sehnsucht kennt 4-3 Heiss mich nicht reden 4-4 So lasst mich scheinen CHAPTER 5 COMPARISON AND ANALYSIS 5-1 Kennst du das Land? 5-1-1 Schubert 5-1-2 Wolf 5-1-3 Comparison 5-2 Nur wer die Sehnsucht kennt 5-2-1 Schubert 5-2-2 Wolf 5-2-3 Comparison 5-3 Heiss mich nicht reden 5-3-1 Schubert 5-3-2 Wolf 5-3-3 Comparison 5-4 So lasst mich scheinen 5-4-1 Schubert 5-4-2 Wolf 5-4-3 Comparison CHAPTER 6 INTERPRETATION AND PERFORMANCE 6-1 Kennst du das Land? 6-2 Nur wer die Sehnsucht kennt 6-3 Heiss mich nicht reden 6-4 So lasst mich scheinen CHAPTER 7 CONCLUSION BIBLIOGRAPHY APPENDIX
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Chen, Tzu-yun. "A century of Schubert Lieder transcriptions for piano." 2003. http://hdl.handle.net/2152/11966.
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Cho, Yu-Fang, and 卓郁芳. "Analysis and Interpretation of the Four Songs Composed by F. Schubert with J.W.v. Goethe's "West-östlicher Divan"." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/39156595023637734341.
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碩士臺北市立教育大學
音樂學系教學碩士學位班
97
Johann Wolfgang von Goether, 1749-1832 was lauded as a politician, philosopher, and scientist in his 83 years of life. Moreover, his romances inspired the Muse in him and he created magnificent literary works including drama Faust, and numerous poems. He was praised as one of the key figures of German literature. The world has benifited from those precious cultural heritage that he left behind. Goethe's influence spread across Europe, and for the next century his works were a major source of inspiration in drama, opera and music. The musician Fanz Peter Schubert, 1797-1828 was one of his fans. Many composers tried to translate Goether’s poems into music. Many failed to express the essense of his works appropriately. Schubert, however, used his unique talent in literature and succeeded in composing his songs to Gother’s poems. Thanks to Shubert, nowadays, many who don’t understand German, feel and enjoy the beauty of German lyrics. Schubert established himself as the leading role in composing Lieder, art songs. Although these two artists had never met in their lives, there was chemistry in the work “Westostlicher Divan”. Goether was fascinated by eastern culture in his later life. He showed great interests in Persian literature. After reading the lyrics of the Persian poet, Hāfiz, about 1300-1389, Goether created “Westotlicher Divan”. Shubert chose 4 poems from the poetry as the subjects of his music. Among them, Geheimes and Versunken were from Buch der Liebe, the Book of Love; Sulieka I and Sulieka II were from Buch Sulieka, the Book of Suleka. While the two pieces of Suleika were proved to be the works of Goether’s lover Marianne von Willemer. They were revised and compiled by Goether. These exquisite poems were even polished after Shubert’s delicate composition. The writer of this paper hopes to probe deep into the core of Shubert’s 4 art songs which were inspired by Goether’s Westostlicher Divan. She also hopes to interpret the songs in more sophisoticated feelings and understanding. Therefore, the lovers of art songs would enjoy and be moved by the beauty of the works, like the writer does.
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Shaw, Michael. "Schubert's Mythological Mayrhofer-Lieder: Historical, Philosophical, and Psychological Contexts." Thesis, 2014. https://doi.org/10.7916/D8M61HDN.
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1817 is the beginning of a period in Schubert's life, called his "years of crisis," when he was forming and asserting his personal and musical autonomy. His songs from this time concentrate on mythology and on the poetry of his friend Johann Mayrhofer. Thirteen mythological Mayrhofer-songs sing through the "I" of a mythological character and address a god for aid. This dissertation analyzes seven of these songs: Freiwilliges Versinken, Memnon, Philoktet, Der zürnenden Diana, Atys, Antigone und Oedip, and Der entsühnte Orest.
Both Mayrhofer's poems and Schubert's songs present difficulties. Mayrhofer's language and treatment of myth occlude his poetry's meaning. Schubert's settings also obscure what they might communicate to readers or listeners through experimental formal, harmonic, and text-setting strategies. To discover the order and meaning behind the abstruse surfaces of the poems, music, and songs, I turn to four analytical perspectives immanent in Mayrhofer's poems. Though mythological on the surface, Mayrhofer's poems tell a Gnostic narrative of man's desire to unite with god. The poems are also masochistic: Mayrhofer's mythological heroes are all in pain, static, and devoted to a goddess. These two simultaneous subtexts exemplify the ambiguity of Mayrhofer's poetry, that it both keeps its meaning indistinct and means many things at once. Mayrhofer's use of mythology and Gnosticism direct us to Carl Jung's use of the same in his psychoanalytic researches into the self.
Gnosticism, masochism, ambiguity, and the Jungian self are elements of Schubert's songs just as they are elements of Mayrhofer's poems. Each of the dissertation's four main chapters focuses on one of these concepts. In analysis, I give the greatest attention to the music, that is, how the music is Gnostic, masochistic, ambiguous, and psychologically self-expressive. The musical analyses are largely motivic, but also involve musical form, harmony, meter, genre, and vocal style. I understand song as a multiplicity, as an interaction of individual voices. Since each of the four analytical perspectives---as distinct as they are---says something about the relationship between the self and the other, they are means to assess the relationships resulting in song, and how meaning and understanding emerge from the interaction of multiple voices.
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Hsieh, Ming-Mou, and 謝銘謀. "Song Cycle:Winterreise, D. 911 By Franz Schubert." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/63z496.
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Cimarusti, Thomas Michael Seaton Douglass. "The songs of Luigi Gordigiani (1806-1860) "Lo Schuberto italiano" /." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-07162007-010404/.
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Dissertation (Ph.D.) Florida State University, 2007.Advisor: Douglass Seaton, Florida State University, College of Music. Title and description from dissertation home page (viewed 10-04-2007). Document formatted into pages; contains 236 pages. Includes biographical sketch. Includes bibliographical references.
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"Franz Liszt's pianistic approach to Franz Schubert's songs: "Muellerlieder" LW. A128." WEST VIRGINIA UNIVERSITY, 2009. http://pqdtopen.proquest.com/#viewpdf?dispub=3326473.
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Yu, Chang-Kai, and 余章愷. "A Research of Seven Songs from F. Schubert's Schwanengesang with L. Rellstab's Poems." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/56725321386622470290.
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Powell, Vivienne. "Love and death in art song and opera from 1810-1947." 2009. http://hdl.handle.net/1959.13/802347.
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Masters Research - Master of Creative ArtsThe study of Love and Death in Art Song and Opera is all- encompassing, threading the study of music with the other arts – literature, especially poetry and drama, and the visual arts, especially painting – and linking the study of philosophy and history, to provide a reference point for the societal attitudes of the time in which my repertoire was written. As the themes of love and death began to be expressed in literature and the arts in the late eighteenth and early nineteenth centuries, my exploration of this theme has grown into a journey through some of the most beautiful, expressive and well-known vocal music of the Romantic era, and into the twentieth century. The Romantics were intimately concerned with the expression of individual emotions, providing me with many opportunities to study repertoire relating to the many aspects of both love and death. It was interesting to discover how musical expression changed within the different national schools I studied – German, French, Spanish, and some Italian arias. I began my study in 1810 with the songs of Franz Schubert. As the master who revolutionized the German Lied, I felt it appropriate to open my first recital, indeed the first two recitals, with a set of Schubert Lieder. I also studied the works of Robert Schumann in the first two recitals, the only composer whose Lieder I studied as single songs and as a song cycle, the well-loved Frauenliebe und Leben. In Recital 2 I turned my attention to French repertoire, with the study of the magnificent song cycle of Hector Berlioz, Les nuits d’été. In the first two recitals I also studied bel canto and French arias. In the third recital I decided to continue my exploration of French Romantic music in relationship to love and death with a set of songs by Gabriel Fauré. My attention turned back to German repertoire - very different, however, from the works of Schubert and Schumann, in the famous song cycle by Richard Wagner, Wesendoncklieder. Two French songs completed this recital. My final recital featured an all-Spanish program, in which I explored my theme in two song cycles, Spanish opera and zarzuela.
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chu, Lee hao, and 李浩築. "Study of verse and piano sound-type in Schubert song crcle "Die Schone Mullerin, op.25"." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/20092693909775315183.
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Lin, Chen-Yin, and 林貞吟. "The Analysis and Interpretation of Schubert’s Goethe-Lieder A Study of Nine Songs Including 《Lieder der Mignon》." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/67j68w.
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Basu, Kyron. "Phonetic journey: sound in singable translations." Thesis, 2020. http://hdl.handle.net/1828/12074.
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Singable translations have a long history as a tool to broaden the reach of foreign language music to new audiences. Current translation theory prioritizes the transfer of poetic meaning and structure. I argue that the phonetic sounds of a poem serve a musical function which is, in many cases, intimately bound to a composer’s setting of that poem. I propose that the phonetic properties of a poem are important expressive devices that should be given equal consideration to semantic content.
I develop a theory called Expressive Phonetic Mapping to effectively describe and translate phonetic features of musical significance. I apply this theory to selections from Franz Schubert’s Winterreise, analyzing existing translations by Harold Heiberg and Jeremy Sams. Supplementing my arguments with formal analysis, I show how modifications to the type and placement of speech sounds at critical moments can enhance the expressiveness and coherence of these translations, often with minimal change to or loss of semantic information.
My thesis culminates in an original singable translation of Hugo Wolf’s “Fussreise,” where I combine Expressive Phonetic Mapping with another method of translation: Peter Low’s “Pentathlon Principle.” I aim to extend existing theories by integrating phonetics into their approaches. That is, considering how the quality of translations can be improved by giving attention to the vocal sounds used, and how those sounds relate to the composer’s underlying music.Graduate
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Lin, Yun-Chiou, and 林蘊秋. "The importance and characteristics of clarinet in Schubert’s Art songs –The interpretation and investigation of Der Hirt auf dem Felsen, D. 965." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/46199198581833909636.
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Wang, Shih-Yuan, and 王詩媛. "The research of German art song with the natural theme in Romantic period(with examples of Franz Schubert, Robert Schumann, Hugo Wolf and Richard Strauss's works)." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/99hr2h.
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碩士國立東華大學
音樂學系
105
The composers including Franz Schubert, Robert Schumann, Hugo Wolf, Richard Strauss were famous in the world for German art song. The generation of these composers was distributed from pre-Romantic period to after-Romantic period. They created the prosperous ages of German art song in Romantic period. Moreover, the natural scenery of mountains, highlands, terraces, lakes, etc in German drove the composers to create many songs with the natural theme, so the research topic of the thesis focuses on the representative works of the four composers such as Die schöne Müllerin, Myrthen, Gedichte von Eduard Mörike, Acht Gedichte aus "Letzte Blätter". The thesis is divided into five chapters, the first chapter introduces the research motive and goal, the research scope and methods and literature discussions. The second chapter mainly explores German art song in Romantic period and describes the song style, the natural element and German art song’s developing origin from the Middle ages to the Romantic period. Thereafter, the third chapter individually states the career background and the create characteristics of the four representative composers of German art song. The fourth chapter mainly focuses on exploring the work’s researches and vocal interpretations of the eight representative German art songs. Finally, the fifth chapter concludes the contents and research results of the previous four chapters.