Gotowe bibliografie tematyczne / Liszt

Spis treści

  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji
  6. Raporty organizacyjne

Gotowa bibliografia na temat „Liszt”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 15 lutego 2025

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Artykuły w czasopismach na temat "Liszt"

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Rosenblatt, Jay, and Derek Watson. "Liszt." Notes 47, no. 4 (June 1991): 1131. http://dx.doi.org/10.2307/941634.

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Viret, Jacques, and Serge Gut. "Liszt." International Review of the Aesthetics and Sociology of Music 21, no. 2 (December 1990): 223. http://dx.doi.org/10.2307/837026.

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Loya, Shay. "Liszt." Nineteenth-Century Music Review 5, no. 1 (June 2008): 142–46. http://dx.doi.org/10.1017/s1479409800002706.

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Kube, Michael. "Franz Liszt an Emilie Mayer." Die Musikforschung 46, no. 4 (September 22, 2021): 417–20. http://dx.doi.org/10.52412/mf.1993.h4.1178.

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Im Nachlaß des Musikwissenschaftlers und Komponisten Reinhard Oppel fand sich ein Brief Liszts an die Komponistin Emilie Mayer (1821-1883) vom 8. Mai 1858. Liszt nimmt darin Bezug auf ein ihm gewidmetes Streichquintett in d-Moll. Obwohl er das Werk sehr lobt, will Liszt der Bitte nach einer Klavierbearbeitung aus rein klanglichen Gründen nicht nachkommen. Somit erweist sich der Brief als wichtiges Dokument für Liszts allgemeine Distanzierung von seiner eigenen Bearbeitungspraxis - zumindest während der Jahre als Weimarer Hofkapellmeister. (Kube, Michael)
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MacDonald, Hugh, and Ronald Taylor. "Balanced Liszt." Musical Times 128, no. 1729 (March 1987): 141. http://dx.doi.org/10.2307/964495.

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Davis, Richard. "Liszt Transcriptions." Musical Times 126, no. 1714 (December 1985): 712. http://dx.doi.org/10.2307/965188.

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Anderson, Robert, Derek Watson, Alan Walker, Serge Gut, and Ernst Burger. "Liszt Multiplied." Musical Times 131, no. 1767 (May 1990): 261. http://dx.doi.org/10.2307/966160.

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Bellas, Jacqueline, and Serge Gut. "Franz Liszt." Revue de musicologie 76, no. 1 (1990): 112. http://dx.doi.org/10.2307/947163.

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Kriff, Jean. "France, Liszt." Humanisme N° 293, no. 3 (August 1, 2011): 107–11. http://dx.doi.org/10.3917/huma.293.0107.

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Saffle, Michael. "The "Liszt-Year" 1986 and Recent Liszt Research." Acta Musicologica 59, no. 3 (September 1987): 271. http://dx.doi.org/10.2307/932949.

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Rozprawy doktorskie na temat "Liszt"

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

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

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

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

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

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

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

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

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

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

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Książki na temat "Liszt"

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Watson, Derek. Liszt. Oxford: Oxford University Press, 2000.

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Watson, Derek. Liszt. Oxford: Oxford University Press, 2000.

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Watson, Derek. Liszt. New York: Schirmer Books, 1989.

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Watson, Derek. Liszt. London: Dent, 1990.

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Dybowski, Stanisław. Franciszek Liszt. Warszawa: Wydawnictwa Szkolne i Pedagogiczne, 1986.

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Załuski, Iwo. Young Liszt. London: P. Owen, 1997.

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Martineau, Gilbert. Franz Liszt. Paris: Tallandier, 1986.

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Felix, Werner. Franz Liszt. 2nd ed. Leipzig: P. Reclam, 1986.

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Alan, Walker. Franz Liszt. London: Faber, 1989.

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Alan, Walker. Franz Liszt. London: Faber and Faber, 1994.

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Części książek na temat "Liszt"

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Watson, Derek. "Transcriptions." In Liszt, 193–217. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0010.

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Abstract No one knew better than Liszt that the piano in the nineteenth century had assumed the importance of the orchestra. This helps explain why the names of eighty composers will be found in section XI of Appendix B. Liszt’s transcriptions and arrangements form, collectively, the most remarkable aspect of his industry - an industry unique among the great transcribers in musical history.
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Watson, Derek. "Choral works." In Liszt, 291–303. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0015.

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Abstract Part-songs for male voices were popular in mid-nineteenth century Germany and contributions to this aspect of Romanticism were made by Schubert, Schumann, Mendelssohn, Bruckner and Cornelius. From 1839 until the mid-1850s Liszt composed over thirty male voice choruses, either unaccompanied or with piano.
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Watson, Derek. "The man Liszt." In Liszt, 162–68. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0007.

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Watson, Derek. "Musical language: technique and transformation." In Liszt, 180–92. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0009.

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Abstract Liszt’s absorption of musical styles in his youth and early maturity is as wide as the map of his travels. The list of composers from whom he made transcriptions is long, and includes some who shaped his own musical language. He had a thorough grounding in Bach and the Viennese classics. His teacher Czerny, the revered Beethoven and, later, Schubert were primary influences.
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Watson, Derek. "Une vie trifurquee (1869-86)." In Liszt, 134–61. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0006.

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Abstract Twilight, an ambiguous word, might be the heading of this chapter as the last phase of Liszt’s career was both a dusk and a dawn. The image of twilight suggests transition, and in the works of the late years there are many glimmerings of hitherto unexplored paths in music. He did not found a new ‘school’ with this music but many twentieth-century techniques and styles can be found prefigured in his music after 1870. His search for new images of musical expression was lifelong, but a peculiarly intermediate, transitional character hangs over his last period. Some of these twilight creations remained in shadowy obscurity until the second half of the present century.
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Watson, Derek. "Lisztomania (1839-47)." In Liszt, 49–78. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0003.

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Abstract Liszt’s Glanzperiode, when the term ‘Lisztomania’ was coined by Heine, conjures up images of him that have remained most to the fore in popular imagination. A dazzling wizard, a showman and superman of the keyboard who thrilled audiences in musical capitals and far flung regions of Europe and whose works matched the glitter and even the vulgarity of that era of hysterical adulation.
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Watson, Derek. "Original piano music." In Liszt, 218–57. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0011.

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Abstract Three works published in Paris in 1824-5 were principally designed to show Liszt’s grasp of keyboard technique: Allegro di bravura (of which he sketched an orchestral arrangement), Rondo di bravura and Huit Variations. They are otherwise of no great value except for signs that show the young composer’s already wideranging sense of tonality and harmonic adventure. The Allegro, which has an improvisatory quality, is particularly restless in key: its 37-bar slow introduction encompasses E flat minor, G flat major, D flat minor, D major, D minor and again E flat minor, before reaching E flat major, the home key of the work. And in the Rondo some harmonic touches are quite untamed.
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Watson, Derek. "Weimar (1848-61)." In Liszt, 79–116. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0004.

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Abstract Carolyne lwanowska was born in 1819 at Monasterzyska in the Ukraine, the only child of an immensely rich Polish couple. From the start her life was eccentric. Her mother preferred to live abroad and her father gave her free rein to keep her own hours, to eat when she liked, to ride her horses over the wild plains. She acquired an early addiction to cigars, a voracious appetite for reading and a deep (Roman Catholic) religiosity which in later years bordered on mania. In 1836 she wed Prince Nicholas von Sayn Wittgenstein (1812--64), an army officer of modest means and a member of a Russian branch of a Westphalian family of that name. Nicholas and Carolyne produced one child, Marie Pauline Antoinette (1837-1920), and they separated a few years after their marriage. The princess then led an isolated, unorthodox life on the estates she had inherited and was twenty-eight when she first met Liszt.
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Watson, Derek. "Songs." In Liszt, 304–11. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0016.

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Abstract Liszt’s importance as a song composer has been re-appraised in recent years. Apart from a handful of popular items, his songs suffered long neglect: quite unjustly, for the best of them are very good indeed. Liszt had a natural lyric gift, his vivid imagination was often fired by literature, and when he succeeded in finding music of poetic appropriateness and sensitivity then his settings rank among the finest of the nineteenth century. An encouraging sign is the number of distinguished international singers who have recorded his songs in the last decade.1 Scarcity of scores and lack of modern reprints have hindered the dissemination of his songs.
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Watson, Derek. "L’Abbe Liszt (1861-8)." In Liszt, 117–33. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0005.

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Abstract Weimar, for all its exertions, was a conscious withdrawal from the world, so that the world would come to Weimar. Rome was a further withdrawal as Liszt played little part in public musical life (outside the Church), even discouraged performances of his works, and regarded his stay in the city as the third part, and probably the close, of his life. Prior to settling into this voluntary but by no means idle retirement, he went to Paris and enjoyed a whirl of brilliant society, calling on old friends and viewing his visit as a sort of St Martin’s summer. Returning to Weimar, a final festival was held at which most of his comrades-in-art gathered and much of his music was heard. These events had a valedictory air, as if he was consciously and forever renouncing the scenes of his triumphs of youth and middle age.
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Streszczenia konferencji na temat "Liszt"

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Sirbu, Sirbu. "THE CYCLICAL FORM FROM A COMPOSITIONAL TECHNIQUE TO A THEMATICISM-GENERATING PRINCIPLE." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024, 113–20. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/s08.19.

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Although the roots of the cyclical form can be traced back centuries ago, it was the 19th century that claimed the cyclical principle as its full manifestation. Closely linked to the concept of genre and its affirmation in certain patterns, the cyclical form was adopted by composers as a working tool to ensure the unity of a multipartite sonic organism by utilizing a common thematic material that can be found in several parts of the genre. This thematically charged entity can circulate at the macro-formal level in variants without major changes or it can be transformed at the melodic, rhythmic
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DeVito, Zachary, Karthik Duraisamy, Eric Darve, Juan Alonso, Pat Hanrahan, Niels Joubert, Francisco Palacios, et al. "Liszt." In 2011 International Conference for High Performance Computing, Networking, Storage and Analysis. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2063384.2063396.

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Balan, Mihaela-Georgiana. "FRANZ LISZT – A DILEMMA OF STYLISTIC INTERFERENCES." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-068.

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Belibou, Alexandra. "ELEMENTS OF HERMENEUTICAL ANALYSIS IN THE MUSICAL REPRESENTATIONS OF DAVID�S PSALMS COMPOSED BY FRANZ LISZT." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s25.021.

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Prelovšek, Anita. "Music in the life and works of Ivan Sergeyevich Turgenev." In Socratic Lectures 7. University of Lubljana Press, 2022. http://dx.doi.org/10.55295/psl.2022.d22.

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The article deals with the role of music in the life and literary works of Ivan Sergeyevich Turgenev. Music played an important part in his life, partly owing to his friendship with the mezzo-soprano Pauline García Viardot, who remained his muse for forty years, until his death. Turgenev was familiar with several musical genres, especially classical music, and knew personally many lead-ing musicians and composers of the time, such as Liszt, Berlioz, Gounod and Saint-Saëns. Different musical impressions found an important place in the works of the writer, and some of the musical fragments of Tu
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"List." In 2010 IEEE 26th International Conference on Data Engineering Workshops (ICDEW 2010). IEEE, 2010. http://dx.doi.org/10.1109/icdew.2010.5452766.

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"List." In 2017 XVII Workshop on Information Processing and Control (RPIC). IEEE, 2017. http://dx.doi.org/10.23919/rpic.2017.8214381.

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"Author list." In 2018 International Conference on Advance of Sustainable Engineering and its Application (ICASEA). IEEE, 2018. http://dx.doi.org/10.1109/icasea.2018.8370995.

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"list-reviewer." In 2010 WASE International Conference on Information Engineering (ICIE 2010). IEEE, 2010. http://dx.doi.org/10.1109/icie.2010.386.

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"list-reviewer." In 2010 WASE International Conference on Information Engineering (ICIE 2010). IEEE, 2010. http://dx.doi.org/10.1109/icie.2010.377.

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Raporty organizacyjne na temat "Liszt"

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J.A. Ziegler. Q-List. Office of Scientific and Technical Information (OSTI), February 2005. http://dx.doi.org/10.2172/859070.

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Wharton, S. Byproducts Species List. Office of Scientific and Technical Information (OSTI), March 2019. http://dx.doi.org/10.2172/1544938.

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Parsa, Z. Booster Parameter List. Office of Scientific and Technical Information (OSTI), January 1986. http://dx.doi.org/10.2172/1150384.

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Parsa, Z. Booster Parameter List. Office of Scientific and Technical Information (OSTI), October 1986. http://dx.doi.org/10.2172/1150441.

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Parsa, Z. Booster Parameter List. Office of Scientific and Technical Information (OSTI), January 1986. http://dx.doi.org/10.2172/1151148.

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Jason, Nora H. FIREDOC vocabulary list. Gaithersburg, MD: National Bureau of Standards, 1985. http://dx.doi.org/10.6028/nbs.ir.85-3231.

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Kailey, Judy B. Validated processor list:. Gaithersburg, MD: National Institute of Standards and Technology, 1991. http://dx.doi.org/10.6028/nist.ir.4557.

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Kailey, Judy B. Validated processor list:. Gaithersburg, MD: National Institute of Standards and Technology, 1991. http://dx.doi.org/10.6028/nist.ir.4623.

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Kailey, Judy B. Validated products list:. Gaithersburg, MD: National Institute of Standards and Technology, 1991. http://dx.doi.org/10.6028/nist.ir.4690.

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Kailey, Judy B. Validated products list:. Gaithersburg, MD: National Institute of Standards and Technology, 1992. http://dx.doi.org/10.6028/nist.ir.4739.

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