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Статті в журналах з теми "Schubert"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 25 липня 2025

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1

Solomon, Maynard. "Schubert: Family Matters." 19th-Century Music 28, no. 1 (2004): 3–14. http://dx.doi.org/10.1525/ncm.2004.28.1.3.

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Certain anomalous events in the history of Franz Schubert's family raise the possibility that he and his family inhabited a more tumultuous and conflict-ridden domestic universe than has been suspected. Among these are a series of painful losses in his mother's early life, the out-of-wedlock conception of Schubert's eldest brother, Ignaz, and Ignaz's subsequent omission from a schedule of heirs to some family property, along with his extended relegation to the lowly post of assistant teacher for more than a quarter century, until the death of his father, Franz Theodor Schubert, in 1830. In the

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2

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

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W 1827 roku Franz Schubert wydał cykl pieśni Winterreise. Z kolei 167 lat później Stanisław Barańczak opublikował tom Podróż zimowa. Wiersze do muzyki Franza Schuberta. Romantyczna pieśń zapoczątkowana przez austriackiego kompozytora dała nową sposobność do przekazania ekspresji poprzez słowo śpiewane i towarzyszącą muzykę. Artykuł na podstawie Pieśni V, zatytułowanej Der Lindenbaum (Lipa), przedstawia korelacje zachodzące na płaszczyźnie między Schubertem, Wilhelmem Müllerem a Barańczakiem. Jest to jedyny wiersz w cyklu, który Barańczak przełożył z języka niemieckiego. Powstające we wspólnym

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3

Eppstein, Hans. "Schütz - Schubert - Hugo Wolf." Schütz-Jahrbuch 7 (August 18, 2017): 62–68. http://dx.doi.org/10.13141/sjb.v1986689.

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1967 charakterisierte Thrasybulos Georgiades in seinem Aufsatz "Schubert und Schütz" die beiden Komponisten als Eckpfeiler deutscher Musik, in denen die Verbindung von Musik mit gesprochenem Wort kulminiert. Die Entwicklung, die Georgiades an dieser Stelle von Schütz zu Schubert zieht, kann weitergezogen werden bis zu Wolf. Denn die Qualität und Einzigartigkeit der Wolfschen Lieder werden durch ein tiefgreifendes Verständnis des Komponisten für die vertonten Texte begründet, das - trotz einiger Unterschiede - mit Schuberts Textgefühl verglichen werden kann.

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4

Carbó, Ferran. "Franz Schubert en Màrius Torres." Studia Romanica Posnaniensia 48, no. 3 (2021): 19–34. http://dx.doi.org/10.14746/strop.2021.483.002.

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This study reviews the presence of the composer Franz Schubert in five poems by Màrius Torres. These texts were written between 1933 and 1938, while Torres consolidated and evolved as a poet. The writer from Lleida performed musical scores with the piano and the Austrian composer, through his Lieder, became a model, something that is evident in the different ways in which transtextuality is present, not only between the songs’ lyrics and Torres’ poems, but also between the musical compositions and these same poems. This study analyzes how, on the one hand, Schubert’s Lieder “Der Erlkönig” and

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5

Sugden, Robert. "OPPORTUNITY AND PREFERENCE LEARNING: A REPLY TO CHRISTIAN SCHUBERT." Economics and Philosophy 31, no. 2 (2015): 297–303. http://dx.doi.org/10.1017/s0266267115000140.

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Abstract:This paper replies to Christian Schubert's critical review of my work on opportunity as a normative criterion. Schubert argues that the criterion I have proposed would not command general assent because it does not recognize the legitimacy of individuals’ preferences for achieving self-development by constraining their future opportunities. I argue that my account of the ‘responsible agent’ is compatible with self-development, and that preferences for self-constraint are less common than Schubert suggests. For the purposes of normative economics, my opportunity criterion is much more

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6

Leppert, Richard. "On Reading Adorno Hearing Schubert." 19th-Century Music 29, no. 1 (2005): 056–63. http://dx.doi.org/10.1525/ncm.2005.29.1.56.

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Adorno's "Schubert" textually reenacts what he recognizes in Schubert's music, repeating himself but with subtle differences, as though he were holding up a cut gem to light and turning it to see the differences manifested in its facets. Adorno's ideas about this music are less developed than juxtaposed, often paratactically, so as to constitute what Benjamin termed a constellation. What Adorno hears in Schubert is a kind of reciprocity toward otherness. Schubert's "landscape," for Adorno, is grounded in the realm of the cultural imaginary; it represents for him a declaration of love, defined

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7

Perrey, Beate. "Exposed: Adorno and Schubert in 1928." 19th-Century Music 29, no. 1 (2005): 015–24. http://dx.doi.org/10.1525/ncm.2005.29.1.15.

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In this close reading of the first page of Adorno's "Schubert," one aim is to highlight the sheer intensity of Adorno's literary ambition, generating a visual poetics that contributes to the text's striking, and daunting, narrative complexity. With reference to the French poet Louis Aragon, Adorno situates Schubert within a distinctly surrealist landscape--a strategic move that is rhetorically as provocative as it is hermeneutically and methodologically risky. I briefly follow up some of this modernist imagery in Schubert's Winterreise, envisioned here as a nondevelopmental, glacial compositio

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8

Clark, Suzannah. "A Gift to Goethe: The Aesthetics of the Intermediate Dominant in Schubert’s Music and Early Nineteenth-Century Theoretical Thought." Nineteenth-Century Music Review 13, no. 1 (2016): 39–70. http://dx.doi.org/10.1017/s1479409815000518.

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Schubert is famous for his remote modulations, especially his third relations. He therefore has a reputation for harbouring an aversion to the dominant, both in terms of its function as a harmonic preparation for new keys and as a structural pole to the tonic home key. I turn to the history of theory to reveal a more nuanced history of Schubert’s attitude towards the dominant. In a revision of ‘Geistes-Gruß’ (D. 142), a song he sent to Goethe in 1816, Schubert added a brief dominant-seventh chord to soften an abrupt modulation to a remote key. Such an insertion between remote keys was coined a

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9

Dunsby, Jonathan. "Adorno's Image of Schubert's Wanderer Fantasy Multiplied by Ten." 19th-Century Music 29, no. 1 (2005): 042–48. http://dx.doi.org/10.1525/ncm.2005.29.1.42.

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AdornoÕs view of Schubert's Wanderer Fantasy is of flawed music. He regards the finale as yet another compositionally disastrous failure by Schubert to know how to round off a sonata or symphony. But he is clearly intrigued by the slow movement's acts of negation and alienation. This article investigates these two crises. First, what is actually--if one may dare ask such a thing--wrong with the finale? That it is all empty mock-fugue and sequence and passage-work? And thus it lacks truth-content? That Schubert is not really composing this finale; it is somehow composing him? Here I investigate

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10

Mogoşan, Iulia. "Schubert’s “Tenth”: an Interpretation Between Construction and Restitution." Artes. Journal of Musicology 25, no. 1 (2022): 58–81. http://dx.doi.org/10.2478/ajm-2022-0005.

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Abstract In Franz Schubert’s creation the fragment takes on various forms of manifestation, ranging from the fragmentary reception of an already constituted piece to the fragmentary notation, in the form of a sketch, of a work that has not yet been completed. A special place belongs to the Tenth Symphony in D major, D 936A, by Schubert, left unfinished; we received it as a sketch, in a convolute, together with two other unfinished symphonies in the same key: D 615 and D 708A. The present study aims to expose three artistic interpretations of these sketches, materialized in completed musical wo

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11

Jeremić-Molnar, Dragana. "Wandering Motive and Its Appeal on Reluctantly Wandering Franz Schubert." Issues in Ethnology and Anthropology 8, no. 1 (2016): 277. http://dx.doi.org/10.21301/eap.v8i1.13.

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Franz Schubert was not generous in commenting his own creative procedures, or in revealing his artistic inspirations. Therefore, it is even today not clear why Wilhelm Müller’s collection of poems entitled Winter journey attracted Schubert so strongly that he was so determined to set it as a whole to the music. In this article the author mentions, and rejects as well, couple of commonly accepted interpretations. The path to the lieder cycle Winter journey was paved neither by Schubert’s identification with the main character – outcast overwhelmed by desperation and anticipation of the approach

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12

Tenczyńska, Anna. "Translating Emotions in the Modern „Waste Land”: Winterreise at the Turn of the 20th and 21st Centuries." Roczniki Humanistyczne 72, no. 12 (2024): 191–205. https://doi.org/10.18290/rh247212.12.

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The subject of this paper is the process of translating emotions in Podróż zimowa (1994), a cycle of 24 poems by the poet and translator, Stanisław Barańczak. The Polish author wrote them to the music of Franz Schubert, who had previously composed this music to the work of another poet, Wilhelm Müller. In each of these three artefacts – by Müller, Müller-Schubert, Müller-Schubert-Barańczak – a different emotional landscape is created. The comparative analysis of selected aspects of each of them, proposed in the article, is providing the opportunity to examine the exceptionally complex process

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13

Burnham, Scott. "Landscape as Music, Landscape as Truth: Schubert and the Burden of Repetition." 19th-Century Music 29, no. 1 (2005): 031–41. http://dx.doi.org/10.1525/ncm.2005.29.1.31.

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Анотація:

Adorno's essay on Schubert opens by invoking a fraught move across the threshold that separates the death of Beethoven from the death of Schubert. He goes on to read Schubert's music through a series of dichotomies whose opposite terms are distinctly Beethovenian: Schubert's themes are self-possessed apparitions of truth rather than inchoate ideas that require temporal evolution; his repetitive, fragmentary forms are inorganic rather than organic, crystalline rather than plantlike. Above all, Adorno develops the idea that Schubert's music offers the repeatable truth of a landscape rather than

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14

Kraśkiewicz, Witold, and Piotr Pragacz. "Schubert functors and Schubert polynomials." European Journal of Combinatorics 25, no. 8 (2004): 1327–44. http://dx.doi.org/10.1016/j.ejc.2003.09.016.

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15

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

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Background. In recent years musicologists revealed an increasing interest in the problem of historical typology of F. Schubert’s composer style. In fact, scholars question possibility to characterize it as romantic, in their turn suggesting another interpretations and characteristics. For instance, M. Brown avoids usage of the term “Romantic” referring to F. Schubert, insisting on him being a part of a Classical tradition. In order to substantiate his viewpoint, the scholar appeals to harmony of the composer, where novelties, according to M. Brown, are not in fact innovations but incredibly sk

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16

Buch, Esteban. "Adorno's "Schubert": From the Critique of the Garden Gnome to the Defense of Atonalism." 19th-Century Music 29, no. 1 (2005): 025–30. http://dx.doi.org/10.1525/ncm.2005.29.1.25.

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This article situates Adorno's "Schubert" in the context of the 1928 centennial, showing the originality of his position on the issue of Schubertian kitsch (as represented by Heinrich Bert&#x8e;'s operetta Das Dreimaderlhaus). This is related to Adorno's attitude toward organicism, characterized by a critique that was relevant on both the political and the theoretical level. His antiorganicist vision of Schubert's music is compared to the nationalist stance of a Richard Benz, typical of right-wing readings of German cultural greatness, and also to the analytical a prioris of two pupils of

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17

Dolinszky, Miklós. "schöne Müllerin - eine authentische Fälschung?" Die Musikforschung 52, no. 3 (2021): 322–30. http://dx.doi.org/10.52412/mf.1999.h3.900.

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Franz Schuberts <Die schöne Müllerin> war zunächst in einer postum bei Anton Diabelli gedruckten Fassung bekannt und beliebt, die heute im Allgemeinen als eine Umarbeitung des Schubert'schen Werkes angesehen wird. Trotz der manchmal starken Eingriffe in den Notentext kann anhand einiger Exemplare gezeigt werden, dass die Lieder im Wesentlichen auf Schubert selbst zurückgehen. bms online (Schöner, Oliver)

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18

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

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When Franz Schubert's friend Franz von Bruchmann returned to Vienna in 1821 from his studies in Erlangen, he brought with him August von Platen's Ghaselen just off the press. Soon after, Schubert set two Platen texts. A reviewer for the Leipzig Allgemeine musikalische Zeitung singled out "Die Liebe hat gelogen" as particularly incomprehensible, in part because he found Schubert's radical harmony to be unmotivated by the text. The daring harmonic language of the second Platen song has struck even recent critics as excessive, yet none have addressed the textual motivation for Schubert's extreme

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19

Anderson, Robert. "Schubert." Musical Times 127, no. 1726 (1986): 693. http://dx.doi.org/10.2307/964674.

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20

Newbould, Brian. "Schubert." Musical Times 134, no. 1805 (1993): 388. http://dx.doi.org/10.2307/1003091.

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21

Cason, T. Elizabeth. "Schubert." Nineteenth-Century Music Review 3, no. 2 (2006): 203–6. http://dx.doi.org/10.1017/s1479409800000744.

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22

Bruce, Richard. "Schubert." Nineteenth-Century Music Review 1, no. 1 (2004): 190–91. http://dx.doi.org/10.1017/s1479409800002032.

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23

Maier, Franz Michael. "Two Versions of : What Franz Schubert Tells Us about a Favourite Song of Beckett." Samuel Beckett Today / Aujourd'hui 18, no. 1 (2007): 91–100. http://dx.doi.org/10.1163/18757405-018001007.

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The printed version of Franz Schubert's song shows two main improvements over the draft. The aesthetic principles that become visible in a comparison of the two versions of the song surprisingly are not at all unfamiliar to Beckett scholars. Hence, the link between Beckett and Schubert can be established on a philological basis.

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24

Caskel, Julian. "Adorno, Schubert, Beethoven." Archiv für Musikwissenschaft 76, no. 2 (2019): 98. http://dx.doi.org/10.25162/afmw-2019-0005.

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25

Perry, Jeffrey. "The Wanderer's Many Returns: Schubert's Variations Reconsidered." Journal of Musicology 19, no. 2 (2002): 374–416. http://dx.doi.org/10.1525/jm.2002.19.2.374.

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Franz Schubert composed four instrumental movements that form a distinct repertoire: the "Trout" Quintet D. 667/iv; the Octet D. 803/ iv; Piano Sonata in A minor, D. 845/ii; and the Impromptu in B-flat, D. 935/iii. Each of them comprises a set of variations on a major-key theme. Each includes (not unexpectedly) one variation in the parallel minor and (more remarkably) a variation in VI followed by a retransition leading to a dominant interruption that prepares the final tonickey variation. Examination of these movements reveals the intimate relationship and common derivation of variation set,

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26

Jeremic-Molnar, Dragana. "The listener of the chthonic god sand the barroom player: Adorno’s experience of Schubert." Filozofija i drustvo 22, no. 2 (2011): 173–90. http://dx.doi.org/10.2298/fid1102173j.

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In this article the author is reconstructing the complex picture of Franz Schubert created by Theodor Adorno in his numerous references to the Viennese composer, but mostly in his 1928 article ?Schubert?. In the late 1920s Adorno experienced Schubert as the tragic composer whose music dwells in the realm of chthonic gods, but nevertheless reveals the joy of ?traveling folk, jugglers and tricksters?. It remained, however, unclear how this joy could survive in the hellish landscapes of Schubert?s chthonic music. Later, Adorno recognized Schubert, due to his ?habitus?, as the barroom player as we

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27

MAK, SU YIN. "Schubert's Sonata Forms and the Poetics of the Lyric." Journal of Musicology 23, no. 2 (2006): 263–306. http://dx.doi.org/10.1525/jm.2006.23.2.263.

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ABSTRACT Although recent scholarship has witnessed a welcome disavowal of the view that Schubert's formal and tonal designs in sonata form compositions bespeak the song composer's inability to master large-scale instrumental genres, it remains a commonplace to characterize Schubert's unorthodox practice as ““lyrical.”” Yet the historical, theoretical, and aesthetic bases of this lyricism have received little critical attention. A systematic and historically grounded approach to the notion of lyrical form in Schubert may be established by appealing to the rhetorical distinction between hypotaxi

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28

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

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

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29

Sottile, Frank. "Pieri’S Formula Via Explicit Rational Equivalence." Canadian Journal of Mathematics 49, no. 6 (1997): 1281–98. http://dx.doi.org/10.4153/cjm-1997-063-7.

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AbstractPieri’s formula describes the intersection product of a Schubert cycle by a special Schubert cycle on a Grassmannian. We present a new geometric proof, exhibiting an explicit chain of rational equivalences from a suitable sum of distinct Schubert cycles to the intersection of a Schubert cycle with a special Schubert cycle. The geometry of these rational equivalences indicates a link to a combinatorial proof of Pieri’s formula using Schensted insertion.

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30

Lam, Thomas, and Mark Shimozono. "Quantum double Schubert polynomials represent Schubert classes." Proceedings of the American Mathematical Society 142, no. 3 (2013): 835–50. http://dx.doi.org/10.1090/s0002-9939-2013-11831-9.

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31

Martin, Christine, Mirjam Kluger, and Katharina Loose-Einfalt. "Schubert Digital: Ein neues Verzeichnis der Autographe Franz Schuberts online." Forum Musikbibliothek 39, no. 3 (2019): 17–22. http://dx.doi.org/10.13141/fmb.v2018512.

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32

Aluffi, Paolo, and Leonardo C. Mihalcea. "Chern–Schwartz–MacPherson classes for Schubert cells in flag manifolds." Compositio Mathematica 152, no. 12 (2016): 2603–25. http://dx.doi.org/10.1112/s0010437x16007685.

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We obtain an algorithm computing the Chern–Schwartz–MacPherson (CSM) classes of Schubert cells in a generalized flag manifold$G/B$. In analogy to how the ordinary divided difference operators act on Schubert classes, each CSM class of a Schubert class is obtained by applying certain Demazure–Lusztig-type operators to the CSM class of a cell of dimension one less. These operators define a representation of the Weyl group on the homology of$G/B$. By functoriality, we deduce algorithmic expressions for CSM classes of Schubert cells in any flag manifold$G/P$. We conjecture that the CSM classes of

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33

Chung, Yi Eun. "Lateness and Schubert: Schubert’s Heine Setttings as Late Work." Journal of the Science and Practice of Music 49 (April 30, 2023): 101–34. http://dx.doi.org/10.36944/jspm.2023.04.49.101.

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34

Röhl, Thomas. "„Wir helfen unseren Kunden, die Perspektive zu weiten“." packREPORT 54, no. 1-2 (2022): 18–19. http://dx.doi.org/10.51202/0342-3743-2022-1-2-018.

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Schubert-Consulting ist ein Geschäftsbereich der Schubert Packaging Systems – hervorgegangen aus der Gerhard Schubert GmbH. Auf Basis dieser jahrzehntelangen Expertise im Verpackungsbereich beraten Michael Graf, Director Consulting, und sein Team Kunden zu allen Prozessen rund um das Verpacken von Produkten.

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35

King, Alec Hyatt, and John Reed. "Schubert Revealed." Musical Times 128, no. 1733 (1987): 386. http://dx.doi.org/10.2307/964532.

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36

Hanson, Alice M., Walther Durr, and Andreas Krause. "Schubert-Handbuch." Notes 55, no. 2 (1998): 391. http://dx.doi.org/10.2307/900193.

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37

Ehrhardt, Damien, Ernst Hilmar, and Margret Jestremski. "Schubert-Enzyklopädie." Revue de Musicologie 92, no. 1 (2006): 217. http://dx.doi.org/10.2307/20141654.

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38

Rastl, Peter. "Schubert-Liedertexte." Die Musikforschung 71, no. 2 (2021): 166–73. http://dx.doi.org/10.52412/mf.2018.h2.305.

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Anhand der Recherche bisher unbekannter Textquellen wird für Franz Schuberts Vokalmusik illustriert, welche Möglichkeiten die literarische Quellenforschung durch die bereits digitalisierten Quellen möglich sind. So können einige der bisher offenen Fragen über Textdichter und Textquellen beantwortet werden. bms online (Cornelia Schöntube)

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39

Vakil, Ravi. "Schubert induction." Annals of Mathematics 164, no. 2 (2006): 489–512. http://dx.doi.org/10.4007/annals.2006.164.489.

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