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[EN] The investigation tries to discover and demonstrate the inflection point in the conception of the piano accompaniment that Franz Schubert carried out across its lieder. It will be possible to verify the conceptual evolution of the vocal piano accompaniment from its beginnings up to the actuality, and how Schubert changed its configuration, affecting its exposition to the later development of the same one. For it we have analyzed the piano part so much of the lieder of Schubert as of the compositions for voice and piano previous and later to him, by means of the selection of the most excellent lieder for our study. This way we have established the meeting points and the differences between the conception of the piano accompaniment of Schubert and the rest of composers. Fruit of this analysis we will know how every composer understands the role of the piano in the vocal works with piano accompaniment this way to realize a compared study, being able to clarify its resemblances and/or differences. Once established we will be able to constitute the significant elements that Schubert and its contribution uses to the conception of the later piano accompaniment. / [ES] La investigación pretende descubrir y demostrar el punto de inflexión en la concepción del acompañamiento pianístico que efectuó Franz Schubert a través de sus lieder. Se podrá comprobar la evolución conceptual del acompañamiento pianístico vocal desde sus inicios hasta la actualidad, y cómo Schubert cambió su configuración, afectando su planteamiento al desarrollo posterior del mismo. Para ello hemos analizado la parte pianística tanto de los lieder de Schubert como de las composiciones para voz y piano anteriores y posteriores a él, mediante la selección de los lieder más relevantes para nuestro estudio. De este modo hemos establecido los puntos de encuentro y las diferencias entre la concepción del acompañamiento pianístico de Schubert y el resto de compositores. Fruto de este análisis conoceremos cómo entiende cada compositor el papel del piano en las obras vocales con acompañamiento pianístico para así realizar un estudio comparado, pudiendo esclarecer sus semejanzas y/o diferencias. Una vez establecidas podremos constituir los elementos significativos que utiliza Schubert y su aportación a la concepción del acompañamiento pianístico posterior. / [CA] La investigació pretén descobrir i demostrar el punt d'inflexió en la concepció de l'acompanyament pianístic que va efectuar Franz Schubert mitjançant els seus lieder. Es podrá comprovar l'evolució conceptual de l'acompanyament pianístic des dels seus orígens fins l'actualitat, i la manera per la qual Schubert va canviar la seua configuració, afectant el seu plantejament al desenvolupament posterior de l'acompanyament. Per a esta tasca hem analitzat la part panística tant dels lieder de Schubert com de les composicions per a veu i piano anteriors i posterior a ell, mitjançant la selecció dels lieder més rellevants per al nostre estudi. D'esta manera hem establert els punts de trobada i les diferències entre la concepció de l'acompanyament pianístic de Schubert i la resta de compositors. Fruït de esta anàlisi coneixerem com entén cada compositor el paper del piano dins les obres vocals amb acompanyament pianístic per a realitzar així un estudi comparatiu entre ells, clarificant d'esta manera les semblances i/o les diferències. Una vegada constituïdes podrem enumerar els elements significatius que utilitza Schubert i la seua aportació a la concepció de l'acompanyament pianístic. / Vallés Grau, L. (2017). El piano en los Lieder de Franz Schubert. Un cambio en la concepción del acompañamiento pianístico [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/88392

Let X be the affine flag manifold of Lie type A_n-1⁽¹⁾ where n ≥ 3 and let W_aff be the associated affine Weyl group. The moment graph for X encodes the torus fixed points (which are elements of the affine Weyl group W_aff and the torus stable curves in X. Given a fixed point u ∈ W_aff and a degree d = (d₀, d₁, ..., d_n−1) ∈ ℤ_≥0ⁿ, the combinatorial curve neighborhood is the set of maximal elements in the moment graph of X which can be reached from u′ ≤ u by a chain of curves of total degree ≤ d. In this thesis we give combinatorial formulas and algorithms for calculating these elements. / Doctor of Philosophy / The study of curves on flag manifolds is motivated by questions in enumerative geometry and physics. To a space of curves and incidence conditions one can associate a combinatorial object called the ‘combinatorial curve neighborhood’. For a fixed degree d and a (Schubert) cycle, the curve neighborhood consists of the set of all elements in the Weyl group which can be reached from the given cycle by a path of fixed degree in the moment graph of the flag manifold, and are also Bruhat maximal with respect to this property. For finite dimensional flag manifolds, a description of the curve neighborhoods helped answer questions related to the quantum cohomology and quantum K theory rings, and ultimately about enumerative geometry of the flag manifolds. In this thesis we study the situation of the affine flag manifolds, which are infinite dimensional. We obtain explicit combinatorial formulas and recursions which characterize the curve neighborhoods for flag manifolds of affine Lie type A. Among the conclusions, we mention that, unlike in the finite dimensional case, the curve neighborhoods have more than one component, although all components have the same length. In general, calculations reflect a close connection between the curve neighborhoods and the Lie combinatorics of the affine root system, especially the imaginary roots.

This dissertation is divided into six chapters. The first chapter explains the purpose and significance of the study. The second chapter presents an analysis about Wanderer Fantasy, D.760 composed by Schubert, employing Schenker analysis to elucidate important motives. Chapter 3 provides an analysis of Schubert-Liszt, Wanderer Fantasy for Piano and Orchestra, S. 366 and shows how Liszt transcribed the original to emphasize certain motives, and further, describes the development of the piano history. Chapter 4 delves into an analysis of Schubert-Liszt, Wanderer Fantasy for Two Pianos, S. 653a transcribed by Franz Liszt and further explains the historic development of piano, in particular Érard's grand piano. Chapter 5 explains the analysis of Schubert-Liszt, Wanderer Fantasy for Piano Solo, S.565a and expands upon Érard's grand piano. Finally, Chapter 6 leads to this paper's summary and conclusion.

Submitted by Etelvina Domingos (etelvina.domingos@ufpe.br) on 2015-03-10T17:09:30Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) HLAG.pdf: 1126552 bytes, checksum: 1e1ac46e79a77b1688e9cb1f88285609 (MD5) / Made available in DSpace on 2015-03-10T17:09:30Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) HLAG.pdf: 1126552 bytes, checksum: 1e1ac46e79a77b1688e9cb1f88285609 (MD5) Previous issue date: 2012-01 / O objetivo desse trabalho é mostrar que os Top Intersection Numbers das Grassmannianas de retas G(2,n+2) satisfazem a relação de recorrência apresentada no artigo "Catalan Traffic at the Beach" e a conexão desses dois com os números de Catalan. Tudo isso será feito com a teoria das Derivações de Schubert e sua conexão com as Grassmannianas de retas.

Orientador: Adriana Giarola Kayama / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T18:27:46Z (GMT). No. of bitstreams: 1 Domingues_MelissaSofner_M.pdf: 9593128 bytes, checksum: 711d2f83f4953c663a8135590bbcf06b (MD5) Previous issue date: 2014 / Resumo: Música e poesia. Como as duas artes interagem, que significados são criados, reiterados, modificados e como a performance se constrói e se enriquece a partir desta interação é a reflexão que impulsiona o presente trabalho. Propomos uma análise músico-textual visando a interpretação e performance de quatro Lieder do período Romântico construídos sobre o poema Gretchen am Spinnrade de J. W. Goethe. Serão contempladas as canções dos compositores Louis Spohr (Gretchen), Franz Schubert (Gretchen am Spinnrade), Carl Loewe (Meine Ruh ist hin), e Richard Wagner (Meine Ruh ist hin). Para isso, é feita uma introdução sobre o gênero Lied e sobre o poeta. Em seguida, é proposta uma análise literária do poema, que servirá de base para a interpretação das canções. São abordados aspectos conteudísticos e formais do texto, assim como sua contextualização dentro da peça Fausto I, de que foi extraído. Em seguida, é feita uma análise musical das obras, com foco nas relações texto-música presentes e contemplando aspectos tanto da linha vocal quanto do acompanhamento. Ao longo da análise são feitas sugestões interpretativas baseadas nas relações texto-música / Abstract: Music and Poetry. How the two art forms interact, what meanings are created, emphasized, modified and how the performance is built and enriched from this interaction is the reflection that impels the present work. A text-music analysis aiming towards the interpretation and performance of four Lieder - settings from the Romantic period of the poem Gretchen am Spinnrade from J. W. Goethe is presented here. The settings of Louis Spohr (Gretchen), Franz Schubert (Gretchen am Spinnrade), Carl Loewe (Meine Ruh ist hin), e Richard Wagner (Meine Ruh ist hin) will be approached. After introductory considerations about the genre Lied and about the poet are made, an analysis of the poem is presented, which will ground the interpretation of the songs. Content and formal aspects of the text are considered, as well as its contextualization in the play Faust I, from where it was extracted. Afterwards, a musical analysis of the songs is presented, focusing on the existing text-music relations and taking aspects from the vocal line as well as the accompaniment into consideration. During the analysis interpretative suggestions are made, based on the text-music relations / Mestrado / Praticas Interpretativas / Mestra em Música

Made available in DSpace on 2014-06-12T18:33:54Z (GMT). No. of bitstreams: 2 arquivo9589_1.pdf: 1126552 bytes, checksum: 1e1ac46e79a77b1688e9cb1f88285609 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2012 / O objetivo desse trabalho é mostrar que os Top Intersection Numbers das Grassmannianas de retas G(2,n+2) satisfazem a relação de recorrência apresentada no artigo "Catalan Traffic at the Beach" e a conexão desses dois com os números de Catalan. Tudo isso será feito com a teoria das Derivações de Schubert e sua conexão com as Grassmannianas de retas

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Cause principale du malaise moderne, l’aliénation désigne l’état de l’être humain qui est pris entre ce qu’il est et ce qu’il devrait être. Ma thèse démontre que la représentation de cette déficience ontologique dans l’art vocal connaît des modalités subjective et objective. Séduit par une oeuvre de la première modalité, l’auditeur en subit l’ensorcellement et sympathise avec le protagoniste aliéné. Se heurtant à la seconde modalité, le spectateur se trouve aux prises avec une oeuvre qui vise à empêcher tout effet d’identification émotif avec le personnage principal. Tout en prenant position par rapport aux traditions herméneutique et critique, je cherche à approfondir la question de l’aliénation dans la musique de la modernité germanique (comprise dans les limites des XIXe et XXe siècles), et ce, sous ses différentes formes. Le Winterreise de Franz Schubert (et Wilhelm Müller) et le ballet chanté, Die sieben Todsünden, de Kurt Weill (et Bertolt Brecht) exemplifient les différentes modalités de l’aliénation, subjective et objective, respectivement. Ma thèse aborde le concept d’aliénation à partir de différentes perpectives : le premier chapitre en retrace le développement dans l’histoire des idées (philosophie, théologie, esthétique, sciences sociales, psychanalyse); les chapitres 2, 3 et 5 étudient l’expression de ses différentes modalités en examinant la genèse et la réception du Winterreise et de Die sieben Todsünden; les chapitres 4 et 6 offrent des analyses approfondies de chaque oeuvre en rapport avec ces modalités. Dans le Winterreise, la présence du double (le joueur de vielle), la narration à la première personne et l’anonymat du narrateur, par ailleurs expressif, se conjuguent au caractère « phénoménologique » de la musique, au sens d’une mimesis de l’espace intérieur, afin d’attirer la sympathie du spectateur. Plusieurs éléments musicaux contribuent à cette impression : figures rhétoriques (tropes de distance, figures de marche, Seufzerfigur, etc.), usage significatif des modes majeur et mineur, subversion sémantique différents genres (valse, Volkslied, opéra, etc.), qualité subjective des ambivalences métriques et formelles, aspect médiatisé des sons qu’entend ou que s’imagine le voyageur, etc. L’effet d’aliénation (Verfremdungseffekt) provoqué par Die sieben Todsünden oeuvre dans un tout autre sens : il amène l’auditeur à adopter une attitude critique face à l’aliénation de la protagoniste « Anna ». Le ton narratif, la perversion des lieux communs (textuels et musicaux), l’aridité de la mélodie, l’ironie stylistique (usage sarcastique du style barbershop, du Choral protestant, du shimmy, du moto perpetuo, de la valse, etc.) et la tonalité élargie participent au ton narquois de l’oeuvre, incitant délibérément à une prise de distance critique. / Alienation, the principal source of the modern malaise, denotes the state of a human being who is caught between what he is and what he ought to be. My dissertation will demonstrate that the depiction of this ontological deficiency in vocal music exists under different modalities, subjective and objective. Beguiled by a work dealing with the topic of alienation within the subjective mode, the listener is made vulnerable to its charm and sympathizes with its alienated protagonist. Colliding with a work of the objective type, the spectator discovers that he is confronted by a piece that seeks to prevent any emotional identification with the characters. Starting from, but not limited to, the perspective of traditional hermeneutics and criticism, my research aims at a deeper understanding of alienation in music during the modern Germanic period (within the limits of the 19th and 20th centuries). Franz Schubert’s (and Wilhelm Müller’s) Winterreise and Kurt Weill’s (and Bertolt Brecht’s) ballet-chanté Die sieben Todsünden exemplify the different modalities of alienation, subjective and objective respectively. I approach the concept of alienation from various angles : the first chapter retraces its development within a history of ideas (philosophy, theology, aesthetics, social sciences, psychoanalysis); chapters 2, 3, and 5 begin to study its subjective and objective articulations by investigating the genesis and reception of Winterreise and Die sieben Todsünden; analytical chapters 4 and 6 offer and an in-depth investigation into these works in relation to their particular modality of alienation. In Winterreise, many elements combine to confer a phenomenological quality to the music (understood as the mimesis of an interior, subjective space) in the hopes that it will stir the audience’s sympathy : note the presence of a double (the hurdy-gurdy player), first-person narration by an anonymous, yet expressive, speaker, and so on. Many musical features support the effect : different topoi (tropes of distance, marching and sighing figures, etc.), the symbolic use of major and minor modes, the subversion of meanings attributed to different genres (waltz, Volkslied, opera, etc.), the subjective quality of metrical and formal dissonances, and the mediated aspect of sounds that the wanderer hears or imagines. The alienation-effect (Verfremdungseffekt) caused by Die sieben Todsünden is altogether contrastive. It encourages its listener to take a critical attitude toward the alienation of Anna, the protagonist. The narrative tone, the distortion of commonplaces (literary and musical), the arid melodies, the ironic style (sarcastic use of barbershop music, Protestant chorals, the shimmy, moto perpetuo, the waltz, etc.), and tonal ambiguity contribute to the sardonic tone of a work that urges critical distance. / Als weitgehend anerkannte Quelle des modernen Unbehagens beschreibt die Entfremdung den Zustand menschlichen Daseins in der Schwebe zwischen dem, was er ist, und dem, was er sein sollte. Meine Dissertation zeigt auf, dass die gesangliche Darstellung eines solchen Zustands ontologischer Defizienz sowohl eine subjektive als auch eine objektive Modalität haben kann. Sobald der Zuschauer der ersten, nämlich der subjektiven, Modalität begegnet, wird er durch das Werk verzaubert und sympathisiert mit dem entfremdeten Protagonisten. Sieht er sich wiederum mit der objektiven Modalität konfrontiert, ist es das Werk selbst, welches jeglichen Effekt einer gefühlsmäßigen Identifizierung mit der Hauptfigur verhindert. Bezug nehmend auf die hermeneutischen und kritischen Traditionen strebe ich nach einer Vertiefung des Entfremdungsbegriffs in der Musik der germanischen Moderne (innerhalb Grenzen des 19. und des 20. Jahrhunderts) in ihren verschiedenen Formen. Franz Schuberts (und Wilhelm Müllers„Winterreise“ sowie das gesungene Ballet „Die sieben Todsünden“ von Kurt Weill (und Bertolt Brecht) veranschaulichen jeweils die subjektive und die objecktive Modalität der Entfremdung. Die vorliegende Dissertation beleuchtet das Konzept der Entfremdung von verschiedenen Seiten: Das erste Kapitel vergegenwärtigt die Entwicklung der Ideengeschichte (Philosophie, Theologie, Ästhetik, Gesellschaftswissenschaften, Psychoanalyse); die Kapitel 2, 3 und 5 befassen sich mit dem Ausdruck ihrer verschiedenen Modalitäten in der Entstehung sowie der Rezeption der Winterreise und der Sieben Todsünden; die Kapitel 4 und 6 bieten vertiefende Analysen jedes einzelnen Werkes im Zusammenhang mit diesen Modalitäten. In der „Winterreise“ vereinigen sich die Präsenz des Doppelgängers (der Leiermann), die Ich Erzählung und die Anonymität des ansonsten sehr ausdrucksvollen Erzählers mit dem „phänomenologischen“ Charakter der Musik, im Sinne einer Mimesis des inneren Raums, um die Sympathie des Zuschauers anzusprechen. Mehrere musikalische Elemente tragen zu diesem Eindruck bei: Rhetorische Figuren (z.B. Distanz- und Wandermotive, Seufzerfiguren usw.), der signifikante Gebrauch von Dur und Moll, die semantische Subversion der verschiedenen Genres (Walzer, Volkslied, Oper, usw.), die subjektive Beschaffenheit metrischer und formaler Ambivalenzen, der mediatisierte Aspekt der Töne, die der Reisende hört oder sich vorstellt, usw. Der Verfremdungseffekt, der durch „Die sieben Todsünden“ hervorgerufen wird, ist ein gänzlich anderer: Er drängt den Zuhörer dazu, eine kritische Stellung in Hinblick auf die Entfremdung der Protagonistin „Anna“ zu beziehen. Der narrative Ton, die Pervertierung der textuellen und musikalischen Gemeinplätze, die stilistische Ironie (der sarkastische Gebrauch des barbershop-Stils, des protestantischen Chors, des shimmy, des moto perpetuo, des Walzers, usw.) und die allgemeine tonale sowie stilistische Zweideutigkeit tragen zum spöttischen Ton des Werks bei und führen so zur gewünschten kritischen Distanz.