In the late 19th century, Georg Schumann (1866-1952) composed an attractive sonata for the cello that remains largely unknown today. By presenting a performer's analysis, this dissertation aims to position Georg Schumann's Sonata for Cello and Piano in E minor, Op. 19 (1898) amongst other more commonly performed sonatas of the era. This paper provides a detailed analysis of each movement of the sonata, an overview of the history and development of the cello sonata and an overview of Georg Schumann's biography leading up to the composition of his cello sonata.

Experimental studies on the coupled effects of transport properties and unsteady fluid dynamics have been conducted on laminar, acoustically forced, hydrogen jet diffusion flames diluted by argon and helium. The primary purpose of this research is to determine how the fuel Lewis number and the flow unsteadiness play a combined role in maximum flame temperature and affect NOx emission from jet diffusion flame. The fuel Lewis number is varied by increasing/decreasing the mole fraction of diluents in the fuel stream. Therefore, maximum flame temperatures and then NOx emission levels were expected to differ for Ar- and He-diluted flames. In an investigation of unsteady flames, two different frequencies (10 and 100 Hz) were applied to observe a behavior of NOx emission levels and flame lengths by changes of unsteady fluid dynamics and transport properties.

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Die vorliegende Arbeit unternimmt ein Gedankenspiel. Sie eröffnet den LeserInnen eine neuartige Perspektive auf drei Werke Robert Schumanns, die in enger zeitlicher Abfolge im Jahre 1849 entstanden sind und sich allesamt mit der Kunstfigur Mignon aus Johann Wolfgang von Goethes Bildungsroman »Wilhelm Meisters Lehrjahre« befassen: dem Liederalbum für die Jugend op. 79, den Liedern und Gesängen aus Goethes »Wilhelm Meister« op. 98a und dem Requiem für Mignon op. 98b. Wäre es denkbar, dass Schumann gezielt Verbindungen zwischen den drei Werken gesetzt hat, um sie als eine Einheit zu kennzeichnen? Erwächst aus dieser Drei-Werke-Einheit dann vielleicht etwas viel Größeres: eine Erzählumgebung, mit deren Hilfe Schumann – wie er selbst dem Musikkritiker Franz Brendel einmal schrieb – der Musik etwas über die Zeit erzählt? Die neue Werkform des »Musikalischen Bildungszyklus«, die hier geschaffen wird, ist Ausdruck einer lebendigen Kunst und eines Künstlers, der ein Bewusstsein für sein eigenes Künstler-Sein schafft.

[EN] In this thesis they are studied cadences in various formulas which are used by the composer Franz Liszt to finish his piano works. This particular aspect of his harmonic language, we call «cadential experimentation», is developed further in his last creative period extending between 1877 and 1885. The detailed analysis of the end of all works written in these years is accompanied by the exam of the terminal cadence writing of his main pieces for keyboard all their previous production. Also we incorporate the investigation of this harmonic process in the most important works of the most prominent pianists-composers contemporaries: Felix Mendelssohn, Robert Schumann y Frédéric Chopin. This comparative study allows us to show the relevance of the figure of Liszt acquired in the renovation of the links in the final cadences and in the process of eliminating the cadence as the punctuation final of the works. His contribution, in quantity and variety, is decisive in this area, becoming the most daring romantic musician, who creates original and revolutionary conclusions for the epoch and even he becomes prescient of an advanced harmonic language. We confirm as well as his constant curiosity and desire for innovation in the harmonic field, which will lead to develop along its production a script that makes it in one of the great innovators of the harmonic vocabulary of the nineteenth century, they are also reflected in the field investigated, and the final «cadential experimentation» becomes in a prominent aspect of the evolution of his harmonic language. After analysis, has made concrete a typology of the various cadences used by the Hungarian master, and we have evaluated the influence of his «cadential activity» in the musical speech of the later composers, delimiting to the composers Claude Debussy and Maurice Ravel. / [ES] En la presente tesis se estudian las diversas fórmulas cadenciales que utiliza el compositor Franz Liszt para concluir sus obras para piano. Este aspecto particular de su lenguaje armónico, que denominamos experimentación cadencial, se desarrolla de forma más manifiesta en su última etapa creativa que se extiende entre 1877 y 1885. El análisis pormenorizado de los finales de todas las obras escritas en estos años se acompaña con el examen de la escritura cadencial terminal de las principales piezas para teclado de toda su producción anterior. Incorporamos, asimismo, la investigación de este procedimiento armónico en las obras más importantes de los pianistas-compositores coetáneos más destacados: Felix Mendelssohn, Robert Schumann y Frédéric Chopin. Este estudio comparativo nos permite mostrar la relevancia que adquiere la figura de Liszt en la renovación de los enlaces cadencias finales y en el proceso de eliminación de la cadencia como puntuación final de las obras. Su aportación, en cantidad y variedad, es decisiva en este terreno, convirtiéndose en el músico romántico más atrevido, que crea conclusiones originales y revolucionarias para la época e incluso premonitorias de un lenguaje armónico más avanzado. Comprobamos así como su constante curiosidad y anhelo de innovación en el terreno armónico, que le conducen a desarrollar a lo largo de su producción una escritura que lo convierte en uno de los grandes renovadores del vocabulario armónico del siglo XIX, se ven reflejados también en el campo que investigamos, y la experimentación cadencial final pasa a convertirse en un aspecto destacado de la evolución armónica del lenguaje lisztiano. Tras el análisis, se ha concretado una tipología de las diversas cadencias utilizadas por el maestro húngaro, y se ha valorado la influencia de su actividad cadencial en el discurso musical de compositores posteriores, delimitándola a las figuras de Claude Debussy y Maurice Ravel. / [CA] En la present tesi s'estudien les diverses fórmules cadenciales que utilitza el compositor Franz Liszt per a concloure les seues obres per a piano. Este aspecte particular del seu llenguatge harmònic, que denominem experimentació cadencial, es desenrotlla de forma més manifesta en la seua última etapa creativa que s'estén entre 1877 i 1885. L'anàlisi detallat dels finals de totes les obres escrites en estos anys s'acompanya amb l'examen de l'escriptura cadencial terminal de les principals peces per a teclat de tota la seua producció anterior. Incorporem, així mateix, la investigació d'este procediment harmònic en les obres més importants dels pianistes-compositors coetanis més destacats: Felix Mendelssohn, Robert Schumann i Frédéric Chopin. Este estudi comparatiu ens permet mostrar la rellevància que adquirix la figura de Liszt en la renovació dels enllaços cadències finals i en el procés d'eliminació de la cadència com a puntuació final de les obres. La seua aportació, en quantitat i varietat, és decisiva en este terreny, convertint-se en el músic romàntic més atrevit, que crega conclusions originals i revolucionàries per a l'època i inclús premonitòries d'un llenguatge harmònic més avançat. Comprovem així com la seua constant curiositat i anhel d'innovació en el terreny harmònic, que li conduïxen a desenrotllar al llarg de la seua producció una escriptura que ho convertix en un dels grans renovadors del vocabulari harmònic del segle XIX, es veuen reflectits també en el camp que investiguem, i l'experimentació cadencial final passa a convertir-se en un aspecte destacat de l'evolució harmònica del llenguatge lisztiano. Després de l'anàlisi, s'ha concretat una tipologia de les diverses cadències utilitzades pel mestre hongarés, i s'ha valorat la influència de la seua activitat cadencial en el discurs musical de compositors posteriors, delimitant-la a les figures de Claude Debussy i Maurice Ravel. / Yuste Martínez, LJ. (2016). Franz Liszt: La experimentación cadencial en los finales de las últimas obras para piano (1877-1885) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/68493

My thesis concerns the life of Clara Schumann (1819 - 1896), a major German concert pianist of the 19th century. It includes a list of her compositions and it describes her activities in piano pedagogy. Through the life of this extraordinary woman, her friends and contemporaries, the thesis provides deeper insights into the overall musical atmosphere of the 19th century. The thesis illuminates the importace of Clara Schumann and her lasting influence on European pianism.

This dissertation comparatively examines musical nostalgia, particularly nostalgia for childhood, in video games and post-Romantic classical music. An introductory chapter lays out several key concepts drawn from video games—loops, gameworlds, and role-play—and suggests the correspondences these have in Romantic music and thought. The central chapters offer case studies of pieces by Robert Schumann, Brahms, Debussy, and Ravel, each along with a corresponding concept drawn from video games. Each chapter articulates ways that works by these composers provide analogies for practices in contemporary role-playing and adventure video games and, conversely, suggests that features drawn from those games might illuminate how these pieces create musical meaning out of dwelling on the past or imagining distant places. The central chapters draw video games and classical music more closely together over their course. In an analysis of Schumann’s Kinderszenen, I suggest that Schumann’s music could be conceived as offering the player a form of role-play, allowing its players and listeners to play as an imagined child and gain access to otherwise inaccessible space. Brahms’s works often dwell in the past (and are often analyzed as such), especially when that past is metaphorically conceived as childhood or the classical tradition. I suggest that we might hear Brahms’s music as preoccupied with the “unrevisitable location,” a feature of video games in which certain spaces are visitable only a fixed number of times and therefore charged with melancholy and loss. Debussy’s Children’s Corner extends role-play to an extreme degree, while at the same time suggesting distant, unreachable vistas. In particular, I borrow Jay David Bolter and Richard Grusin’s ideas on mediation and Christopher Goetz’s notion of “nostalgic travel” to suggest ways that Debussy’s music incorporates impossible distance into its sound and structure. Video games and classical music converge as much as possible in an analysis of Ravel’s Ma mère l’Oye, which I read alongside Nintendo’s open-world game The Legend of Zelda: Breath of the Wild. I suggest that Ravel’s music offers space for its players to explore similar to this video game. In particular, we might hear the music as allowing linear narrative to give way to a freer, open-ended exploration, suggesting the opening of a world. Finally, a concluding chapter examines nostalgia in video games themselves, specifically Undertale, Final Fantasy VII, and Final Fantasy VII Remake, while revisiting elements of the Romantic musical past as they have accrued in the dissertation so far. The argument in this final chapter is that of the dissertation as a whole: that the same desires for fantasy and adventure animate both traditions, and that the two provide meaningful contexts for each other, in ways that studies of the two have until now overlooked.

The first chapter introduces the purpose and significance of this study for the piano teacher who wants to teach twentieth-century piano music effectively at the elementary or intermediate level, combining it and comparing it with nineteenth-century piano music. The second chapter presents an overview of both Schumann and Liebermann's Album for the Young. In the third chapter, the two collections are analyzed pedagogically and compared in detail. The study should provide piano teachers with an understanding of the musical concepts of each piece and how to effectively teach students about twentieth-century music by pairing them.

The dominant natural electromagnetic (EM) radiation in the extremely low frequency (ELF) range is due to global lightning activity. Radio waves of ELF band traveling along the surface of the ground are able to circle the globe and return to the starting point. Schumann Resonances (SR) are the EM phenomena which occur in the cavity formed by the conducting Earth and the ionosphere, with peak frequencies close to 8, 14, 20, 26 Hz, etc. The spectral characteristics of the SR modes are defined by their resonant mode amplitudes, center frequencies and half-widths. The characteristics of the SR became important in aerospace, marine applications, atmospheric studies, in addition to their relevance to global lightning studies due to their frequency band. The objective of this work is two fold: (i) to investigate the characteristics of SR parameters obtained at Sarkoy in Turkey / (ii) to model the nonlinear characteristics of the Near Earth Space Processes by forecasting the 1st SR mode intensities different time steps in advance using neural network modeling approach. The results show that the SR amplitudes exhibit the characteristics of Tropical African lightning activity and have maxima around 1400 UT. The neural network results show that the proposed model is able to forecast SR amplitudes from 0,5 to 36 hours in advance within reasonable error limits. Furthermore, a fuzzy neural network model with a non&ndash / linear optimization algorithm for the training phase is proposed and tested for the future work.