Syftet med arbetet är att utforska hur jag uppfattar texten och musiken utan några övriga instruktioner och sedan följa processen i att skapa mina egna interpretationer utifrån instruktioner jag lägger till själv. De frågeställningar som används för att undersöka detta är: Vilka tankar och känslor väcker det hos mig när jag studerar in en notbild helt utan instruktioner? Vilka insikter kan jag få om olika sätt att följa de instruktioner som tonsättaren anger genom att ta bort dem helt? Vad fyller tonsättarens instruktioner för funktion för mig som musiker och hur kan jag förhålla mig till dem respektfullt men samtidigt fritt? Metoden som används är att två romanser av Ture Rangström har valts ut och alla instruktioner som har med tempo, karaktär, artikulation och dynamik att göra har suddats ut. Därefter studerar jag in romanserna för att sedan föra in mina egna instruktioner och skapa min egen interpretation. Genom att följa min process genom den loggbok jag fört under tidens gång resonerar jag sedan kring frågeställningarna och gör en kort jämförelse av min egen tolkning och tonsättarens instruktioner i originalnoterna. Detta gör jag för att väcka medvetenhet kring hur jag gör mina konstnärliga val genom det landa i att kunna göra de valen på ett mer självsäkert sätt. Mina resultat pekar på att det som tonsättaren ger oss musiker med sina instruktioner är en utgångspunkt för interpretationen, snarare än en absolut sanning om hur något ska låta. Genom att utföra instruktionerna till punkt och pricka har jag inte framfört en interpretation, den måste jag bidra med själv genom att umgås och arbeta med musiken, analysera den, reflektera över vilka val jag vill göra samt prova mig fram genom min klingande praktik.

Der Beitrag widmet sich einer besonderen und bislang nicht zusammenhängend beschriebenen Spielart der 5–6-Konsekutive bei Schubert, die sich als halbtönig-enharmonischer Zirkel verstehen lässt. Die Argumentation bewegt sich im Spannungsfeld zwischen systematischen und historisch informierten Denkweisen; dabei werden latente Widersprüche aufgezeigt und an Dokumenten der frühen Rezeptionsgeschichte belegt. / This article addresses a particular and as-yet insufficiently explained manner of employing the 5–6 consecutive in Schubert that can be understood as a circle of enharmonic half-steps. The argumentation embraces the tension between systematic and historically informed modes of thought, revealing latent contradictions that are supported using documents drawn from early reception history of this work.

Les interférences quantiques apparaissant lors de la superposition cohérente d'états quantiques de la matière sont à l'origine de la compréhension et du contrôle de nombreux processus élémentaires. Dans cette thèse, deux problèmes distincts, qui ont pour origine de tels effets, sont discutés avec leurs applications potentielles : 1. Diffraction électronique induite par Laser (LIED) et imagerie des orbitales moléculaires ; 2. Effets collectifs dans des vapeurs denses et transparence électromagnétique induite par interaction dipôle-dipôle (DIET). La première partie de cette thèse traite du mécanisme de recollision dans des molécules linéaires simples lorsque le système est exposé à un champ laser infrarouge de forte intensité. Cette interaction provoque une ionisation tunnel du système moléculaire, conduisant à la création d'un paquet d'ondes électronique dans le continuum. Ce paquet d'ondes suit une trajectoire oscillante, dirigée par le champ laser. Cela provoque une collision avec l'ion parent qui lui a donné naissance. Ce processus de diffraction peut être de nature inélastique, engendrant la génération d'harmoniques d'ordre élevé (HHG) ou l'ionisation double non-séquentielle, ou de nature élastique, processus que l'on appelle généralement « diffraction électronique induite par laser ». La LIED porte des informations sur la molécule et sur l'état initial à partir duquel les électrons sont arrachés sous forme de motifs de diffraction formés en raison de l'interférence entre différentes voies de diffraction. Dans ce projet, une méthode est développée pour l'imagerie des orbitales moléculaires, reposant sur des spectres de photo-électrons obtenus par LIED. Cette méthode est basée sur le fait que la fonction d'ondes du continuum conserve la mémoire de l'objet à partir duquel elle a été diffractée. Un modèle analytique basé sur l'approximation de champ fort (SFA) est développé pour des molécules simples linéaires et appliqué aux orbitales moléculaires HOMO et HOMO-1 du dioxyde de carbone. L'interprétation et l'extraction des informations orbitalaires imprimées dans les spectres de photo-électrons sont présentées en détail. Par ailleurs, nous estimons que ce type d'approche pourrait être étendu à l'imagerie de la dynamique électro-nucléaire de tels systèmes. La deuxième partie de cette thèse traite des effets collectifs dans des vapeurs atomiques ou moléculaires denses. L'action de la lumière sur ces gaz crée des dipôles induits qui oscillent et produisent des ondes électromagnétiques secondaires. Lorsque les particules constitutives du gaz sont assez proches, ces ondes secondaires peuvent coupler les dipôles induits entre-eux, et lorsque cette corrélation devient prépondérante la réponse du gaz devient une réponse collective. Ceci conduit à des effets spécifiques pour de tels systèmes, comme l'effet Dicke, la superradiance, et les décalages spectraux de Lorentz-Lorenz ou de Lamb. A cette liste d'effets collectifs, nous avons ajouté un effet de transparence induite dans l'échantillon. Cet effet collectif a été appelé « transparence électromagnétique induite par interaction dipôle-dipôle ». La nature collective de l'excitation du gaz dense réduit la vitesse de groupe de la lumière transmise à quelques dizaines de mètre par seconde, créant ainsi une lumière dite « lente ». Ces effets sont démontrés pour les transitions D1 du 85Rb et d'autres applications potentielles sont également discutées. / Quantum interference, coherent superposition of quantum states, are widely used for the understanding and engineering of the quantum world. In this thesis, two distinct problems that are rooted in quantum interference are discussed with their potential applications: 1. Laser induced electron diffraction (LIED) and molecular orbital imaging, 2. Collective effects in dense vapors and dipole induced electromagnetic transparency (DIET). The first part deals with the recollision mechanism in molecules when the system is exposed to high intensity infrared laser fields. The interaction with the intense field will tunnel ionize the system, creating an electron wave packet in the continuum. This wave packet follows an oscillatory trajectory driven by the laser field. This results in a collision with the parent ion from which the wave packet was formed. This scattering process can end up in different channels including either inelastic scattering resulting in high harmonic generation (HHG) and non-sequential double ionization, or elastic scattering often called laser induced electron diffraction. LIED carries information about the molecule and about the initial state from which the electron was born as diffraction patterns formed due to the interference between different diffraction pathways. In this project, a method is developed for imaging molecular orbitals relying on scattered photoelectron spectra obtained via LIED. It is based on the fact that the scattering wave function keeps the memory of the object from which it has been scattered. An analytical model based on the strong field approximation (SFA) is developed for linear molecules and applied to the HOMO and HOMO-1 molecular orbitals of carbon dioxide. Extraction of orbital information imprinted in the photoelectron spectra is presented in detail. It is anticipated that it could be extended to image the electro-nuclear dynamics of such systems. The second part of the thesis deals with collective effects in dense atomic or molecular vapors. The action of light on the vapor samples creates dipoles which oscillate and produce secondary electro-magnetic waves. When the constituent particles are close enough and exposed to a common exciting field, the induced dipoles can affect one another, setting up a correlation which forbids them from responding independently towards the external field. The result is a cooperative response leading to effects unique to such systems which include Dicke narrowing, superradiance, Lorentz-Lorenz and Lamb shifts. To this list of collective effects, one more candidate has been added, which is revealed during this study: an induced transparency in the sample. This transparency, induced by dipole-dipole interactions, is named “dipole-induced electromagnetic transparency”. The collective nature of the dense vapor excitation reduces the group velocity of the transmitted light to a few tens of meter per second resulting in 'slow' light. These effects are demonstrated for the D1 transitions of 85Rb and other potential applications are also discussed.

The poems of Mignon have inspired song writers for almost two centuries. They have served as the texts for more composers than almost any other single set of poetry. The Romantic composers were especially fond of the words. The poems are full of sadness and yearning and composers found they could be set in different moods. Some settings are in major tonalities while other settings of the same poem can be found in minor. Simple harmonies are used in some settings while others contain more complex harmonies. There are those composers who would have Mignon appear as a lost soul throughout all the poems with each song quietly sung, while others use a variety of dynamics adding drama to the setting and picturing Mignon as full of optimism at the end.

xi, 387 p. / A print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006 / The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed. The majority of written-out Lied accompaniments from the late eighteenth-century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments. The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of 50 continuo treatises published between 1750 and 1810. / Adviser: Dr. Anne Dhu McLucas Committee: Dr. Marc Vanscheeuwijck, Dr. Marian Smith, Dr. Kenneth Calhoon

This thesis studies the problem of combining a poem with music in nineteenth-century Lieder so that the music enhances the poetry rather than detracting from it. Eight settings of Goethe's poem "Kennst du das Land," from his novel Wilhelm Meisters Lehrjahr, are compared. Settings by Johann Friedrich Reichardt, Beethoven, Schubert, Schumann, Liszt, Tchaikowsky, and Wolf are analyzed, after initial treatment of the literary aspects of the poem. The degree of musico-poetic synthesis varies in these settings, and it becomes evident that total fusion of poetry and music is not possible. However, the settings by Schumann and Wolf achieve strong balance of word and tone.

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

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Im Jahr der Wiederkehr des 350. Todestages von Heinrich Schütz können die „Denkmäler der Tonkunst in Dresden“ leider kein neues Werk des Dresdner Hofkapellmeisters vorlegen, aber dafür eines aus seinem unmittelbaren Umfeld: Die „10 Opitzianischen Lieder“ aus der „Aelbianischen Musenlust“ von Constantin Christian Dedekind. Diese großangelegte Sammlung von 157 Liedern aus dem Jahr 1657 vereinigt Texte der damals bekanntesten deutschen Dichter: u.a. von Martin Opitz, Paul Fleming, Johann Rist, Andreas Tscherning, Simon Dach, David Schirmer, Mit den meisten stand Heinrich Schütz auf der Suche nach gut vertonbaren deutschen Texten in Verbindung. Dedekind lernte Schütz 1647 kennen, wurde von diesem 1654 als Sänger in die „Hofcantorey“ aufgenommen, war Schüler und Schwiegersohn von Christoph Bernhard und wurde 1671 von Schütz gebeten, ihm bei dessen letztem großem Motettenwerk, dem „Schwanengesang“, bei der Instrumentierung zu helfen. 1624 hatte Martin Opitz das „Buch von der deutschen Poeterey“, ein Standardwerk der Barockepoche, veröffentlicht als einen wesentlichen Beitrag zur Schaffung einer deutschen Nationalliteratur. 1627 übertrug er eine der frühesten italienischen Opern, die „Dafne“ von Ottavio Rinunccini von 1597, für Schütz ins Deutsche, für eine Festaufführung in Torgau.So ist die „Aelbianische Musenlust“ eng mit dem Elbtal bei Dresden verbunden, zeigt doch der Titelkupfer die bekanntesten Felsen der Sächsischen Schweiz.

Analysis in relation to performance of the six authentic motets of J.S. Bach: Singet dem Herrn ein neues Lied ; Geist hilft unsrer Schwachheit auf ; Fürchte dich nicht ; Jesu, meine Freude ; Komm, Jesu, komm ; Lobet den Herrn, alle Heiden.