Thesis (Ph. D.)--University of Rochester, 1959. / Appendix B: "Printed collections containing lieder ... masses, motets, or odes by Senfl", leaves 222-224. Vol. 2: The lieder. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5172

The purpose of this project is to help bridge the gap of available solos for the novice bass tuba player. It is necessary for the growing tuba player to transition to the bass tuba for solos at the professional level, but the majority of pieces that are written for the bass tuba are at the professional level, and it leaves very little for the transitional phase from a repertoire standpoint. Through transcribing vocal works, an aspiring bass tuba soloist can focus on fundamental aspects of tuba playing like tone quality, breathing, intonation, and musicianship. Generally speaking, tuba solos are written for the contrabass tuba and accessible to late high school and early college musicians, or they are written at the professional level for bass tuba. There is a gap in the repertoire for the solo tuba, pieces that can help transition young students to the later repertoire demands of the bass tuba. This project will address the need for more novice solo works accessible to the young collegiate tubists transitioning to the bass tuba by identifying current deficiencies in the repertoire available for the developing solo tubist. This project concludes with a transcription and performance edition of Franz Schubert's Op. 59, Nos. 1-4: No. 1, Du liebst mich nicht; No. 2, Dass sie hier gewesen; No. 3, Du bist die Ruh'; and No. 4, Lachen und Weinen.

No description available.

In this thesis, I analyze the first, second, and final songs of Clara Schumann's Six Lieder, Opus 13. In each one, special attention is paid to two aspects of Clara's composition. First, I use my research on Clara and Robert's correspondence to attempt to demonstrate ways in which she may have drawn from events during their courtship as inspiration for her compositional choices and techniques in these songs. Second, I interpret a motive that spans the set, the notes of which could be a cipher representative of her and Robert, to construct a narrative across the cycle informed by her and Robert's relationship. My analysis expands in part on questions David Lewin has raised about the first song, "Ich stand in dunkeln Träumen." I hope that these analyses can shed more light on Clara's first set of lieder published independently from Robert's. Further research could be done to see if there are clear similarities between the third, fourth, and fifth songs of this cycle and significant events in Clara and Robert's courtship.

Este trabalho tem como objetivo apresentar um modelo de análise musical que fundamenta uma possibilidade interpretativa dos Lieder - gênero musical resultante da fusão das linguagens poética e musical - de Clara Schumann, pianista e compositora alemã do século XIX que teve papel relevante no cenário musical de sua época, realizando a primeira audição e divulgação da obra de muitos dos seus contemporâneos, especialmente de seu marido, Robert Schumann. As análises evidenciam o elevado nível artístico dessas composições, as quais abordam questões relacionadas ao período romântico em um contexto musical extremamente elaborado. A gravação que acompanha esta dissertação pretende oferecer um esboço de possibilidades para a interpretação dos Lieder analisados. / This paper introduces a musical analysis model which underlies an interpretative possibility of the Lieder - musical form resulting from the fusion of poetry and music - by Clara Schumann, German pianist and composer of the 19th Century. Her role in the musical scenario was quite relevant, since she held first auditions and thus disseminated the works of many contemporary composers, specially her husband, Robert Schumann. The analysis corroborates the high artistic level of these compositions, which bring into contact with issues related to the romantic period in a highly elaborated musical work. The included CD offers interpretation possibilities for the analyzed Lieder.

Este trabalho tem como objetivo apresentar um modelo de análise musical que fundamenta uma possibilidade interpretativa dos Lieder - gênero musical resultante da fusão das linguagens poética e musical - de Clara Schumann, pianista e compositora alemã do século XIX que teve papel relevante no cenário musical de sua época, realizando a primeira audição e divulgação da obra de muitos dos seus contemporâneos, especialmente de seu marido, Robert Schumann. As análises evidenciam o elevado nível artístico dessas composições, as quais abordam questões relacionadas ao período romântico em um contexto musical extremamente elaborado. A gravação que acompanha esta dissertação pretende oferecer um esboço de possibilidades para a interpretação dos Lieder analisados. / This paper introduces a musical analysis model which underlies an interpretative possibility of the Lieder - musical form resulting from the fusion of poetry and music - by Clara Schumann, German pianist and composer of the 19th Century. Her role in the musical scenario was quite relevant, since she held first auditions and thus disseminated the works of many contemporary composers, specially her husband, Robert Schumann. The analysis corroborates the high artistic level of these compositions, which bring into contact with issues related to the romantic period in a highly elaborated musical work. The included CD offers interpretation possibilities for the analyzed Lieder.

Gustav Mahler (1860-1911), was one of the great composers of the late-Romantic era. He composed forty-five Lieder. These Lieder, as influences by Mahler¡¦s symphonic work, show a broader scope, in terms of the sound, the length and the tension, as compared to Lieder by previous composers. Impacted by Romanism and Nationalism, Mahler composed twenty-three Wunderhorn-Lieder, which based on Des Knaben Wunderhorn by German poets Achim von Arnim (1781¡V1831) and Clemens Brentano (1976¡V1842). The Wunderhorn anthology has more than seven hundreds poems, which is a significant piece of German literature work for folk songs. Four Wunderhorn-Lieder are discussed in this paper: ¡§Ich ging mit Lust durch einen grünen Wald,¡§Scheiden und Meiden¡¨, ¡§Wer hat die Liedlein erdacht¡H¡¨, and¡§ Wo die schönen Trompeten blasen¡¨. The main theme of these four Lieder is love, and each of them represents a different type of love experience. The study mainly contains four parts: the biographical information about Gustav Mahler, the Lieder of Gustav Mahler, a brief introduction of poets Arnim and Brentano, and a performance analysis of the four Wunderhorn-Lieder. Through analyzing these four Lieder, we can gain insight into how poetry was played up and extended by Mahler using music, and help the vocalists better express the spirit and the music syntax of Mahler when interpreting his Lieder.

No description available.

No description available.

The purpose of this thesis was to make available for performance and study an edition of the twenty-two secular songs published in this collection by Johann Jacob Löwe and Julius Johann Weiland in 1657. The thesis contains twenty-two secular songs for one, two, or three voices with continuo accompaniment and ritornellos for one or two violins, and/or viola, as well as translations of Lowe's preface and dedication and a poem to Lower and Weiland by Heinrich Schaffer. The work contains three chapters, the first covering Lowe's life and work and association with Weiland, the second the state of German secular song in 16050, and the third a critical commentary on the editing of the songs. Editorial corrections are included.