This project provides International Phonetic Alphabet (IPA) transcriptions, translations and a vocal pedagogical analysis of “Six Songs of Poetry by Gellert” by Ludwig van Beethoven. There is discussion of technical concepts applicable to singing, vocal relationships between text and poetry; and background information concerning Ludwig van Beethoven, Christian Gellert, and Christian Neefe. This document addresses possible vocal challenges a baritone might encounter when studying the Gellert Lieder. This guide provides suggestions for vowel modification in the passaggio, as well as a section dedicated to appoggio, aggiustamento, and vocal registration. Finally, this research provides a concise preparation for performance manual for singers and teachers of singing to use in the vocal studio.

Diss.--Philosophie--Heidelberg, 1999--Ruprecht-Karls-Univ. / Bibliogr. Index à la fin du vol. 2.

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 281-285). Available also in a digital version from Dissertation Abstracts.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by Kelly Burke; submitted to the School of Music. Title from PDF t.p. (viewed Apr. 29, 2010). Includes bibliographical references (p. 49-51).

Especialmente a partir do século XX, o interesse em entender como de fato se executava a música do período clássico cresceu consideravelmente. Isso porque, intérpretes e estudiosos em geral, ao se darem conta do distanciamento histórico entre executante e compositor, assim como da multiplicidade dos procedimentos instrumentais que agregaram tradições das mais diversas, sentiram necessidade de uma área de estudo que fosse destinada a essa reflexão. Portanto, este trabalho pretende, em primeiro lugar, realizar um breve estudo de alguns dos principais aspectos que fundamentam a interpretação das obras do período clássico, dentro do campo das práticas interpretativas, tais como: articulação, fraseado, dinâmica, tempo, ritmo, uso do pedal, etc. Serão abordados também conhecimentos sobre Beethoven, seus manuscritos, e as primeiras edições de suas sonatas, assim como informações sobre os instrumentos de época. Em seguida, todos esses critérios serão aplicados à interpretação da Sonata op. 110 de Beethoven. Acreditamos que este procedimento nos possibilitará a construção de uma interpretação criteriosa, convincente, que seja respaldada historicamente e, ao mesmo tempo, atual. / Particularly since the twentieth century, the concern in understanding how the repertoire of the classical period was truly performed grew extensively. This happened because interpreters and scholars in general, while realize the distance between performer and composer as well as the large amount of instrumental procedures that caused multiple traditions, felt need of an area of study designed for this kind of reflection. Therefore, this volume aims, in first place, conduct a brief study of some key issues that underlie the understanding of works from the classic period, within the field of the performance practices like: articulation, phrasing, dynamics, choice of tempo, rhythm, use the pedals, etc. Will be addressed also knowledge about Beethoven, manuscripts and first editions of his piano sonatas, as well as some information about the instruments of that time. Then, these criteria will be applied to the interpretation of Beethovens Sonata op. 110. We believe that this procedure will allow the construction of a careful, credible, historically founded and, at the same time, actual performance.

Beethoven's folksong arrangements and variations have been coldly received in recent scholarship. Their melodic and harmonic simplicity, fusion of highbrow and lowbrow styles, seemingly diminished emphasis on originality, and the assorted nationalities of the tunes have caused them to be viewed as musical rubble within the heritage of Western art music. The canonic composer's relationship with the Scottish amateur folksong collector and publisher George Thomson, as well as with his audience, amateur music lovers, has been largely downplayed in the reception of Beethoven. I define Beethoven's engagement with folksongs and their audience as the "Beethoven Folksong Project," evaluating it in the history of Beethoven reception as well as within the cultural and ideological contexts of the British Isles and German-speaking lands at the turn of the nineteenth century. I broaden the image of Beethoven during his lifetime by demonstrating that he served as an ideal not only for highly educated listeners and performers but also for amateur music lovers in search of cultivation through music. I explore the repertory under consideration in relation to the idea of Bildung ("formation" or "education" of the self or of selves as a nation) that pervaded contemporary culture, manifesting itself in music as the tradition of Bildungsmusik ("music for self-improvement"). Drawing on both contemporary reviews and recent studies, I show that the music's demanding yet comprehensible nature involved a wide range of elements from folk, popular, and chamber music to Hausmusik ("house music"), Unterhaltungsmusik ("music for entertainment"), Alpenmusik ("music of the Alps"), and even Gassenhauer ("street music"). Within the tradition of Bildungsmusik, adaptation of folksongs for domestic music-making, recomposition of pre-existing materials, collaboration between professionals and amateurs, and incorporation of musics familiar to and popular with contemporaries served as significant means for the composer to communicate with a middle-class audience. The hybrid and flexible nature of the folksong settings was not an awkward mix of various kinds of "trivial" music but rather a reflection of political, cultural, and social phenomena in Europe at the turn of the nineteenth century.

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This essay compares and analyses five different editions of Beethoven’s Piano Sonata no. 29 in Bb-major, op.106, with focus on editorial choices and techniques. The analysis takes as its point of departure James Grier's definitions of different types of editions. In the study the editions are scrutinized in a number of aspects from chosen passages, deemed as problematic in Beethoven scholarship, in order to see how the editions answer to the definitions of Grier. The comparisons show that the editions are shaped, affected and influenced by the aims regarding their use and function, and testify to how different the outcome may be even when editions are based on the same source material.

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