Franz Peter Schubert (1797-1828) created the accompanied art song as we know it. His achievement as a composer of Lieder stands at the very core of his labors as a creator. Franz Liszt (1811-1886) in addition to being a composer of genius, was also the greatest virtuoso pianist of the nineteenth century. He had a particular affinity for Schubert's music, which led him to transcribe as many as 54 of the Lieder for piano solo. These transcriptions are faithful recreations of Schubert's musical thought, yet the pianistic layout is completely Lisztian. Franz Schubert was hardly a public figure during his lifetime, and he gave just one public concert of his works, on March 26, 1828 in Vienna. According to Hans Gal: "In 1828 there were the beginnings of an improvement in his circumstances. His songs were becoming more widely known, German publishers were beginning to show an interest in his music, and Schubert was induced by his friends to give a public recital of his works. It was his first and last... Schubert's supporters could easily fill a hall, and the undertaking was both artistically and financially a great success."

Den här uppsatsen är en jämförelse av två olika kompositioner med samma dikt: Was bedeutet die Bewegung av Marianne von Willemer, för första gången publicerad år 1819 i Johann Wolfgang von Goethes Väst-östlig divan. I min jämförande studie har jag, i huvudsak med hjälp av böckerna Lyrikanalys - en introduktion av Lars Elleström samt Poetry into Song: Performance and Analysis of Lieder av Deborah Stein och Robert Spillman, gjort en detaljanalys av diktens innehåll och form. Jag har därefter gått vidare med att undersöka hur Franz Schubert och Felix Mendelssohn har lyckats att förstärka dikten med de musikaliska verktygen melodik, textur, form, harmonik, dynamik och rytm.

'Am Meer' ist ein Lied von Franz Schubert (1797-1828) für Singstimme und Klavier aus dem Zyklus 'Schwanengesang' (Text: Heinrich Heine). Matthias Drude hat dieses für Männerchor und Klavier bearbeitet. Veröffentlichung auf Qucosa mit freundlicher Genehmigung des Concertino-Musikverlags.

<div>We study the Gaudin model associated to Lie algebras of classical types.</div><div><br></div><div>First, we derive explicit formulas for solutions of the Bethe ansatz equations of the Gaudin model associated to the tensor product of one arbitrary finite-dimensional irreducible module and one vector representation for all simple Lie algebras of classical type. We use this result to show that the Bethe Ansatz is complete in any tensor product where all but one factor are vector representations and the evaluation parameters are generic. We also show that except for the type D, the joint spectrum of Gaudin Hamiltonians in such tensor products is simple.</div><div><br></div><div>Second, we define a new stratification of the Grassmannian of N planes. We introduce a new subvariety of Grassmannian, called self-dual Grassmannian, using the connections between self-dual spaces and Gaudin model associated to Lie algebras of types B and C. Then we obtain a stratification of self-dual Grassmannian. </div>

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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

This thesis deals with the study of Schubert varieties, which are subsets of flag varieties indexed by elements of Weyl groups. We start by defining Lascoux elements in the Hecke algebra, and showing that they coincide with the Kazhdan-Lusztig basis elements in certain cases. We then construct a resolution (Zw, π) of the Schubert variety Xw for which Rπ*(C[l(w)]) is a sheaf on Xw whose expression in the Hecke algebra is closely related to the Lascoux element. We also define two new polynomials which coincide with the intersection cohomology Poincar\'e polynomial in certain cases. In the final chapter, we discuss some interesting combinatorial results concerning Bell and Catalan numbers which arose throughout the course of this work.