Inaug.-Diss.--Bonn. / Cover-title. "Literatur": p. [3].

Thesis (D.M.A.)--Boston University.

No description available.

No description available.

No description available.

Thesis (M.M.)--University of Massachusetts Amherst, 2008. / Includes bibliographical references (p. 63-67).

Through his exceptional creative and performing abilities, Franz Liszt was able to transform compositions of many kinds into unified, intelligible, and pleasing arrangements for piano. Nineteenth-century definitions of "arrangement" and "Klavierauszug," which focus on the process of reworking a composition for a different medium, do not adequately describe Liszt's work in this area. His piano transcriptions of Schubert's songs, Berlioz's Symphonie fantastique and the symphonies of Beethoven are not note-for-note transcriptions; rather, they reinterpret the originals in recasting them as compositions for solo piano. Writing about Liszt's versions of Schubert's songs, a Viennese critic identified as "Carlo" heralded Liszt as the creator of a new genre and declared him to have made Schubert's songs the property of cultured pianists. Moreover, Liszt himself designated his work with Berlioz's Symphonie fantastique and the symphonies of Beethoven "Partitions de piano": literally, piano scores. As is well known, concepts of genre in general create problems for musicologists; musical arrangements add a new dimension of difficulty to the problem. Whereas Carl Dahlhaus identifies genre as a tool for interpreting composers' responses to the social dimension of music in the fabric of individual compositions, Jeffrey Kallberg perceives it as a "social phenomenon shared by composers and listeners alike." The latter concept provides a more suitable framework for discussing the genre of transcriptions, for their importance derives in large part from relationships between the original and the derivative works, both as constructed by Liszt and perceived by critics and audiences. During the nineteenth and early twentieth century's, Liszt's transcriptions of songs and symphonies were construed as both compositions for pianists and subsets of the originals. Consequently, these compositions should be studied for their own musical value as well as for the light that they shed on the original works. Liszt's transcriptions are derivative and at the same time created distinct genres.

This graduate recital in voice presents a wide scope of the soprano recital repertoire and explores the relationship between music and literature throughout the centuries. Mozart���s ���Bella mia fiamma��� Resta, o cara,��� K. 528 represents the Italian Classical period; the text is based on the Roman myth of the goddess Ceres. Strauss��� Drei Lieder der Ophelia, Op. 67 represents German Lieder from the late-Romantic period; the set presents a German translation of Ophelia���s mad scene from Shakespeare���s Hamlet. Argento���s Six Elizabethan Songs represent 20th-century music, but Argento draws the text from various poets of the Elizabethan era. Selected songs by Franz Liszt are representative of the French m��lodie from the Romantic period; they set the text of the Romantic poet Victor Hugo. Rachmaninoff���s Six Songs, Op. 38 represent the post-Romantic (nearly Impressionist) period and explore Russian Symbolist poetry. / Mary Pappert School of Music / Music Performance / MM; / Recital;

Liszt, the pianist well-known for his outstanding performing style, has led a trend of 19th century virtuoso style and created a phonomonon for piano world in the Romantic period. A great deal of his piano transcriptions have helped to promote many composers¡¦ works and also the development of modern piano manufacture to the new level. Those transcriptions have become the standard concert repertoire of modern virtuoso pianists. A large proportion of Liszt¡¦s piano transcriptions is Schubert Lieder transcriptions which were increasing brilliant style within the beauty and simplicity of Schubert¡¦s melody. The Müllerlieder is the last one of Schubert lieder transcriptions that Liszt composed in 1846. Through his superb compositional technique, this transcription conveys musical content of Schubert lieder successfully. Chapter one in this paper will introduce Liszt¡¦s compositional life of piano transcriptions, including the society background and different types of transcriptions. The connection between Liszt and Schubert lieder is also discussed in it. Chapter two includes the development of piano and the virtuoso style in the times of Liszt. The last chapter focuses on the research of Die Schöne Müller, comparing Schubert¡¦s original song edition and the transcription of Liszt and concentrates on analyzing Liszt¡¦s compositional technique in this piano transcription.

During the Nineteenth century, with the population of the public concert, many performers have started devoting themselves to the development of technique, expecting that could appeal to more audience. Under the influence of Paganini, virtuoso not only gets to the top, but also let the pianists devote themselves to develop technique on the keyboard, expecting that they can win brilliant results in the concert. Under such situation, studies have been published in a great amount. Gradually, composers and pianists try not to only make the music with virtuositic spirit but also with lyricalism within them. In addition to the introductions and conclusions, the research could be divided into three chapters. The first chapter, discussion of the musical background, includes the music environment during the nineteenth century, the mechanism improvement of the pianos, and the development of the concert etude. Chapter two is the analyses of the concert etude technique and characters. Famous composers, such as Chopin, Schumann and Liszt, their concert etudes will be discussed. Chapter three investigates the concert etudes of the other composers in terms of their nationalities-Germany, France, Russian, American, and Poland. Concert etudes that developed in the nineteenth century would be no longer the simple etudes for finger exercise, but the masterpieces with the inner intension. To pianists in late twenty century, these concert etudes should be not only methods for teaching but also essential in concert programs.