No description available.

No description available.

Most pianists and music scholars consider Schubert's Wanderer Fantasy his most virtuosic piano work. The piece was written in November 1822 when the composer was twenty-five. By that time, Schubert was known for his lieder and some four-hand piano works, which were written in a very lyrical style. In comparison to these works, the Fantasy was written with a demanding technique requiring a richer, orchestral sound. The technical demands of the Wanderer Fantasy at times cause pianists to injure their arms. Even if this does not happen, the instrument, nonetheless, can sound harsh. This type of thick texture may have prompted Robert Schumann's comments in his 1828 review of the Fantasy (M.J.E. Brown, Schubert, A Critical Biography [London: Macmillan & Co., 1958], 124.): Schubert would like, in this work, to condense the whole orchestra into two hands... This essay will address two main subjects: first, the Fantasy will be considered from an orchestral perspective with reference to Schubert's own symphonic writing; second, this essay will seek to assist the pianist in producing a better sound, as well as avoiding injury. It is this essay's thesis that Schubert, when composing the Wanderer Fantasy, was actually constructing an orchestral plan under the guise of a piano score. In order to analyze Schubert's orchestral writing, this essay will be divided into four chapters. Chapter one will offer the historical background of the Wanderer Fantasy, chapter two will discuss Schubert as a symphonist as well as the Unfinished Symphony, which was written only two weeks before the Fantasy. Chapter three, based on the parallel orchestral elements found in the Unfinished Symphony piano sketch, will discuss the relationship between the piano sketch of the Symphony and the Wanderer Fantasy. Following this comparative analysis, chapter three will also offer practical performance suggestions based on previously discussed orchestral elements for the pianist. Chapter four presents conclusions offered by the author. The conclusions reached in this essay are presented in the hope that they will assist the pianist to achieve a more meaningful performance when performing the Wanderer Fantasy.

Thesis (Ph. D.)--University of Chicago, Dept. of Mathematics, August 1999. / Includes bibliographical references. Also available on the Internet.

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.

Dissertation Ph. D.--University of Queensland, 2000. / Bibliogr. p. 171-178.

Thesis (Ph. D.)--University of Chicago, The Divinity School, 2002. / Includes bibliographical references (p. 223-227). Also available on the Internet.

Treatise (D.M.A.)--University of Texas at Austin, 2003. / Supervisors: Rebecca A. Baltzer and Lita Guerra. Vita. Includes bibliographical references. Also available from UMI.

Flag varieties of reductive Lie groups and their subvarieties play a central role in representation theory. In the early 1980s, V. Deodhar introduced a decomposition of the flag variety which was then used to study the Kazdan-Lusztig polynomials. A Deodhar-type decomposition of the product of the flag variety with itself, referred to as the double flag variety, was introduced in 2007 by B. Webster and M. Yakimov, and each piece of the decomposition was shown to be coisotropic with respect to a naturally defined Poisson structure on the double flag variety. The work of Webster and Yakimov was partially motivated by the theory of cluster algebras in which Poisson structures play an important role. The Deodhar decomposition of the flag variety is better understood in terms of a cell decomposition of Bott-Samelson varieties, which are resolutions of Schubert varieties inside the flag variety. In the thesis, double Bott-Samelson varieties were introduced and cell decompositions of a Bott-Samelson variety were constructed using shuffles. When the sequences of simple reflections defining the double Bott-Samelson variety are reduced, the Deodhar-type decomposition on the double flag variety defined by Webster and Yakimov was recovered. A naturally defined Poisson structure on the double Bott-Samelson variety was also studied in the thesis, and each cell in the cell decomposition was shown to be coisotropic. For the cells that are Poisson, coordinates on the cells were also constructed and were shown to be log-canonical for the Poisson structure. / published_or_final_version / Mathematics / Doctoral / Doctor of Philosophy

Thesis (doctoral)--Rijksuniversiteit te Utrecht, 1982. / Summary in German. Includes indexes. Includes bibliographical references (p. 207-208).