The following analysis of Franz Schubert's (1797-1828) song cycle Schwanengesang (1828) was undertaken in the hope that such a treatment of the final contributions of this important master of song literature would prove of interest to students of this field.The materials examined comprise the fourteen songs collectively known as Schwanengesang (Dying Strains), taken from the G. Schirmer's Edition of Schubert's Songs with English translations by Theodore Baker. From a synopsis of the art song concluded with critical remarks on Schubert's style and contributions to the art of writing songs, the author has proceeded to a few general statements on the song cycle itself. This is followed by an analysis of each song from the point of view of the text, the general harmonic scheme, the vocal line, and the function and type of accompaniment.

1817 is the beginning of a period in Schubert's life, called his "years of crisis," when he was forming and asserting his personal and musical autonomy. His songs from this time concentrate on mythology and on the poetry of his friend Johann Mayrhofer. Thirteen mythological Mayrhofer-songs sing through the "I" of a mythological character and address a god for aid. This dissertation analyzes seven of these songs: Freiwilliges Versinken, Memnon, Philoktet, Der zürnenden Diana, Atys, Antigone und Oedip, and Der entsühnte Orest. Both Mayrhofer's poems and Schubert's songs present difficulties. Mayrhofer's language and treatment of myth occlude his poetry's meaning. Schubert's settings also obscure what they might communicate to readers or listeners through experimental formal, harmonic, and text-setting strategies. To discover the order and meaning behind the abstruse surfaces of the poems, music, and songs, I turn to four analytical perspectives immanent in Mayrhofer's poems. Though mythological on the surface, Mayrhofer's poems tell a Gnostic narrative of man's desire to unite with god. The poems are also masochistic: Mayrhofer's mythological heroes are all in pain, static, and devoted to a goddess. These two simultaneous subtexts exemplify the ambiguity of Mayrhofer's poetry, that it both keeps its meaning indistinct and means many things at once. Mayrhofer's use of mythology and Gnosticism direct us to Carl Jung's use of the same in his psychoanalytic researches into the self. Gnosticism, masochism, ambiguity, and the Jungian self are elements of Schubert's songs just as they are elements of Mayrhofer's poems. Each of the dissertation's four main chapters focuses on one of these concepts. In analysis, I give the greatest attention to the music, that is, how the music is Gnostic, masochistic, ambiguous, and psychologically self-expressive. The musical analyses are largely motivic, but also involve musical form, harmony, meter, genre, and vocal style. I understand song as a multiplicity, as an interaction of individual voices. Since each of the four analytical perspectives---as distinct as they are---says something about the relationship between the self and the other, they are means to assess the relationships resulting in song, and how meaning and understanding emerge from the interaction of multiple voices.

by Liu Hoi-ying April. / Thesis submitted in: December 2003. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 111-113). / Abstracts in English and Chinese. / Preface --- p.i-v / Introduction --- p.1 / Chapter 1. --- Chapter one: The History of the Romantic Lied --- p.7 / Chapter 2. --- Chapter two: Literature Review --- p.24 / Chapter 3. --- Chapter three: Lieder Analyses --- p.46 / Chapter 4. --- Chapter four: Summary and Conclusion --- p.100 / Chapter 5. --- Selected Bibliography --- p.110 / Chapter 6. --- Appendix A: Statistics / Chapter - --- Table w: Lieder set by Schubert from 1811-1828; statistical information on setting method (strophic vs through-composed) --- p.113 / Chapter - --- Table x: Schubert's Lieder settings from 1811-1828 of Goethe's poems; statistical information on setting method (strophic vs through-composed) --- p.114 / Chapter - --- Table y: Chronological statistical analysis for setting method (strophic vs through-composed) and related poet for all Schubert's Lieder from 1811-1828. --- p.115 / Chapter - --- Table z: Loewe's strophic Lieder settings collected in Max Runze's edition4 --- p.124 / Chapter 7. --- Appendix B: English Translation of Goethe's poems --- p.127

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Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-27Bitstream added on 2014-06-13T19:56:12Z : No. of bitstreams: 1 biancolino_t_me_ia.pdf: 8518794 bytes, checksum: e0883b41634079e4cc679ac8ef255b1d (MD5) / Os escritos estéticos dos autores do Frühromantik (Primeiro Romantismo), surgidos a partir das duas últimas décadas do século XVIII, constituíram a base do pensamento do Romantismo musical alemão. De vital importância dentro desta nova concepção estética foi o entendimento da música instrumental como a manifestação mais nobre das artes, algo que ia contra o preceito que vigorara até então, segundo o qual a música sem voz possuía pouco valor, por ser incapaz, apenas por meio de sons, de imitar o mundo físico e despertar sentimentos nos ouvintes. Paralelamente a esse processo, o piano - cujos primeiros modelos bem sucedidos surgiram entre 1698 e 1730 - ganhou maior repertório no último quarto do século XVIII e, ao mesmo tempo, passou a ser utilizado como substituto de formações instrumentais maiores, em reduções de sinfonias e óperas. Este trabalho trata da importância que os fenômenos de valorização da música instrumental, da formação da linguagem do piano e da utilização deste instrumento enquanto redutor da orquestra exerceram no aparecimento do Lied em princípios do século XIX, um gênero híbrido entre música e poesia e entre música vocal e música instrumental, que se contrapôs à tradição da canção estrófica setecentista. Mais especificamente, esta pesquisa investiga em qual medida a composição da parte do piano do ciclo de canções Winterreise (1827) de Franz Schubert foi realizada sobre a idéia de evocação de sonoridades de outros instrumentos, tomando por base similaridades de escrita entre determinadas passagens da obra de Schubert e aquelas retiradas de obras sinfônicas e de câmara, do próprio Schubert e de outros compositores que representaram grandes influências suas, especialmente Haydn, Mozart e Beethoven. / The aesthetic writings by Frühromantik (Early Romantic) authors, which appeared during the last decades of the eighteenth century, became the basis of German musical conception of Romanticism. Fundamentally important that new aesthetic idea was the undestanding of instrumental music as the noblest manifestation of arts, which was against the old precept that music without singing was worthless, as it was incapable of imitating the physical world and reviving the listener's sentiments. Simultaneously, the repertoire for piano - which early successful model appeared between 1698 and 1730 - was substantially increased during the last quarter of the eighteenth century and, at the same time, gradually started to be used as a substitute for larger instrumental groups, and reductions of symphonies and operas. The present work discusses how the phenomena of instrumental music valorization, piano idiom formation and its use as a substitute for an orchestra (piano reduction) influenced the advent of Lied at the beginning of the nineteenth century - a hybrid genre between music and poetry - and between vocal and instrumental music, in opposition to the eughteenth century strophic song tradition. More specifically, this research examines how much of the piano accompaniment of Fraz Schubert's song cycle Winterreise (1827) was based on the idea of the evocation of the sonorities of other instruments, using as evidence stylistic similarities between some of the passages from Schubert's works and those extracted from symphonic and chamber pieces - by both Schubert himself and other composers, notably his major influences: Haydn, Mozart and Beethoven.

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."

The background of the mass may be considered from many angles. This present discussion concerns itself with the early development of the form. Since the mass is a Catholic rite, the Catholic viewpoint is followed in religious matters. The purposes of this paper are to provide backgrounds for the Catholic tradition of mass and for Austrian composer Franz Schubert, and to analyze the masses written by Schubert.

Sonata in A major, Opus 120, was written by Franz Schubert in 1819. The sonata was chosen for this study because of its proximity to the middle of the span of time in which Schubert wrote his piano sonatas. His first piano sonata was written in 1815 and the last in 1828. Since no sonatas were written in either 1821 or 1822, the years in the middle of this span, the sonata written in 1819 was chosen.

Franz Liszt, who was the greatest virtuoso pianist in the nineteenth-century, was also a productive composer. But his tremendous technique brought the misunderstanding that his compositions were just flashy and superficial, thus creating an obstacle for appreciating his music. The purpose of this study is to encourage an understanding of the value of Liszt's music, especially his Schubert Lieder transcriptions. The study starts with an introduction, which states the revival of the art of transcription, gives the muscial background of Liszt and describes the instruments that were available to him. Then follows a discussion about his experimentation with the conventional piano techniques and how he applied them to the song transcriptions. Two transcriptions "Hark, Hark, the Lark" and "Der Lindenbaum" are analyzed in detail to show the transcriptive procedure and the relation between the poetry and the musical expression. A conclusion summarizes the study.

Of all the composers of German Lied, Franz Schubert and Hugo Wolf can be considered the true giants of this musical form. Schubert's position is secure as the greatest composer of the Lied. Wolf, though challenging Schubert in this particular idiom only, brought the Lied to its culmination. This study will show, by comparative analysis, the respective treatment by Fr anz Schubert and Hugo Wolf of selected poems by Johann Wolfgang von Goethe. Though Schubert composed some seventy songs (not including multiple settings of the same text), and Wolf fifty-one, based on the poetry of Goethe, they shared only thirteen of these poems in common. Four songs by each composer have been selected for detailed analysis.