Auswahl der wissenschaftlichen Literatur zum Thema „Instrumental music (Schubert, Franz)“
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Zeitschriftenartikel zum Thema "Instrumental music (Schubert, Franz)"
Perry, Jeffrey. „The Wanderer's Many Returns: Schubert's Variations Reconsidered“. Journal of Musicology 19, Nr. 2 (2002): 374–416. http://dx.doi.org/10.1525/jm.2002.19.2.374.
Der volle Inhalt der QuelleHettrick, William E. „Johann Herbeck’s Edition of Choral Works by Franz Schubert: History and Analysis“. Nineteenth-Century Music Review 16, Nr. 3 (05.09.2018): 349–82. http://dx.doi.org/10.1017/s1479409818000010.
Der volle Inhalt der QuelleSobaskie, James William. „The ‘Problem’ of Schubert's String Quintet“. Nineteenth-Century Music Review 2, Nr. 1 (Juni 2005): 57–92. http://dx.doi.org/10.1017/s1479409800001567.
Der volle Inhalt der QuelleLee, M. Owen. „Fierrabras. Franz Schubert“. Opera Quarterly 8, Nr. 2 (1991): 179–81. http://dx.doi.org/10.1093/oq/8.2.179.
Der volle Inhalt der QuelleJellinek, George. „Fierrabras. Franz Schubert“. Opera Quarterly 8, Nr. 4 (1991): 137–38. http://dx.doi.org/10.1093/oq/8.4.137.
Der volle Inhalt der QuelleRast, N. „Franz Schubert: Music and Belief“. Music and Letters 87, Nr. 3 (01.08.2006): 439–41. http://dx.doi.org/10.1093/ml/gci241.
Der volle Inhalt der QuelleKramer, Richard. „Posthumous Schubert: Drei grosse Sonaten fur das Pianoforte . Franz Schubert. ; Der Graf von Gleichen . Franz Schubert, Ernst Hilmar.“ 19th-Century Music 14, Nr. 2 (Oktober 1990): 197–216. http://dx.doi.org/10.1525/ncm.1990.14.2.02a00060.
Der volle Inhalt der QuelleSolomon, Maynard. „Schubert: Family Matters“. 19th-Century Music 28, Nr. 1 (2004): 3–14. http://dx.doi.org/10.1525/ncm.2004.28.1.3.
Der volle Inhalt der QuelleRast, N. „Franz Schubert: Das fragmentarische Werk“. Music and Letters 87, Nr. 3 (01.08.2006): 437–39. http://dx.doi.org/10.1093/ml/gci239.
Der volle Inhalt der QuelleRastl, Peter. „Schubert-Liedertexte“. Die Musikforschung 71, Nr. 2 (22.09.2021): 166–73. http://dx.doi.org/10.52412/mf.2018.h2.305.
Der volle Inhalt der QuelleDissertationen zum Thema "Instrumental music (Schubert, Franz)"
Biancolino, Ticiano [UNESP]. „A evocação de sonoridades instrumentais na escrita para piano no ciclo Winterreise de Franz Schubert“. Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/95120.
Der volle Inhalt der QuelleOs 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.
Biancolino, Ticiano. „A evocação de sonoridades instrumentais na escrita para piano no ciclo Winterreise de Franz Schubert /“. São Paulo : [s.n], 2008. http://hdl.handle.net/11449/95120.
Der volle Inhalt der QuelleBanca: Lia Vera Thomás
Banca: Sidney Molina
Resumo: 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.
Abstract: 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.
Mestre
Hyland, Anne Margaret. „Tautology or teleology? : towards an understanding of repetition in Franz Schubert's instrumental chamber music“. Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609771.
Der volle Inhalt der QuelleBjurström, John. „Skriva improvisationsmusik med Franz Schubert“. Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2814.
Der volle Inhalt der QuelleExamenskonsert
Mussard, Timothy S. „Embellishing Schubert's Songs : a performance practice /“. Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/11217.
Der volle Inhalt der QuelleMadsen, Charles Arthur. „The Schubert-Liszt transcriptions : text, interpretation, and Lieder transformation /“. view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080592.
Der volle Inhalt der QuelleTypescript. Includes vita and abstract. Includes bibliographical references (leaves 477-487). Also available for download via the World Wide Web; free to University of Oregon users.
Meggison, Natalie Rebecca. „Situating Schubert's Ossian settings, music, literature, and culture (Franz Schubert, Austria)“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60383.pdf.
Der volle Inhalt der QuelleHAM, INA. „FRANZ SCHUBERT'S IMPROMPTUS D.899 AND D.935: AN HISTORICAL AND STYLISTIC STUDY“. University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1114981145.
Der volle Inhalt der QuelleKim, SeonJu. „Challenges faced by modern violists when preparing the F. Schubert Arpeggione sonata for performance /“. Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11422.
Der volle Inhalt der QuelleEnhamre, Sebastian. „Franz Schubert: Sonat i a-moll, D 845 - En tolkning“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3459.
Der volle Inhalt der QuelleBücher zum Thema "Instrumental music (Schubert, Franz)"
Michael, Raab. Franz Schubert: Instrumentale Bearbeitungen eigener Lieder. München: W. Fink, 1997.
Den vollen Inhalt der Quelle finden1952-, Jando? Jeno?, Verhey Emmy, Dechenne Danielle, Fischer Adam 1949-, Kovacs Janos 1951-, Budapesti Vonosok, Colorado Quartet, Magyar Allami Operahaz Zenekar und Filharmoniai Tarsasag (Budapest Hungary), Hrsg. Masters of classical music: Vol. 9 : Franz Schubert. Los Angeles, CA: LaserLight, 1988.
Den vollen Inhalt der Quelle findenM, Reul Barbara, und Bodley Lorraine Byrne 1968-, Hrsg. Unknown Schubert. Aldershot, Hants, England: Ashgate, 2008.
Den vollen Inhalt der Quelle findenBrinkmann, Reinhold. Franz Schubert, Lindenbäume und deutsch-nationale Identität: Interpretation eines Liedes. Wien: Picus, 2004.
Den vollen Inhalt der Quelle finden1936-, Newbould Brian, Hrsg. Schubert studies. Aldershot, Hants, England: Ashgate, 1998.
Den vollen Inhalt der Quelle findenKlaus, Stahmer, Hrsg. Franz Schubert und Gustav Mahler in der Musik der Gegenwart. Mainz: Schott, 1997.
Den vollen Inhalt der Quelle finden1935-, Hackenbracht Elisabeth, und Internationale Hugo-Wolf-Akademie für Gesang, Dichtung, Liedkunst e.V. Stuttgart., Hrsg. 1797-1997: Der Flug der Zeit : Franz Schubert : ein Lesebuch. Tutzing: H. Schneider, 1997.
Den vollen Inhalt der Quelle findenauthor, Uhde Jürgen, Hrsg. Schubert: Späte Klaviermusik : Spuren ihrer inneren Geschichte. Kassel: Bärenreiter, 2014.
Den vollen Inhalt der Quelle findenFranz Schubert and the Music of Modernity (Competition) (6th 2006 Universität für Musik und Darstellende Kunst Graz). Franz Schubert und die Musik der Moderne: Dokumentation : 6. Internationaler Wettbewerb, 15.-24.2.2006 = Franz Schubert and the music of modern times : documentation : 6th international competition, 15.-24.02.2006. Graz: Universität für Musik und darstellende Kunst, 2007.
Den vollen Inhalt der Quelle finden1936-, Newbould Brian, Hrsg. Schubert the progressive: History, performance practice, analysis. Aldershot, Hants, England: Ashgate, 2003.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Instrumental music (Schubert, Franz)"
Black, Brian. „Lyricism and the Dramatic Unity of Schubert’s Instrumental Music:“. In Drama in the Music of Franz Schubert, 233–56. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctv6jm9rg.18.
Der volle Inhalt der QuelleDavies, Joe. „Stylistic Disjuncture as a Source of Drama in Schubert's Late Instrumental Works“. In Drama in the Music of Franz Schubert, 303–30. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444393.015.
Der volle Inhalt der QuelleDavies, Joe. „Stylistic Disjuncture as a Source of Drama in Schubert’s Late Instrumental Works“. In Drama in the Music of Franz Schubert, 303–30. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctv6jm9rg.21.
Der volle Inhalt der QuelleDavies, Joe. „13 Stylistic Disjuncture as a Source of Drama in Schubert’s Late Instrumental Works“. In Drama in the Music of Franz Schubert, 303–30. Boydell and Brewer, 2019. http://dx.doi.org/10.1515/9781787444393-019.
Der volle Inhalt der QuelleBlack, Brian. „Lyricism and the Dramatic Unity of Schubert's Instrumental Music: The Impromptu in C Minor, D. 899/1“. In Drama in the Music of Franz Schubert, 233–56. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444393.012.
Der volle Inhalt der QuelleBlack, Brian. „10 Lyricism and the Dramatic Unity of Schubert’s Instrumental Music: The Impromptu in C Minor, D. 899/1“. In Drama in the Music of Franz Schubert, 233–56. Boydell and Brewer, 2019. http://dx.doi.org/10.1515/9781787444393-016.
Der volle Inhalt der Quelle„FRANZ SCHUBERT“. In The Classical Music Lover's Companion to Orchestral Music, 661–77. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.54.
Der volle Inhalt der Quelle„Franz Schubert (1797–1828)“. In The Classical Music Lover's Companion to Orchestral Music, 661–77. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-052.
Der volle Inhalt der QuelleMcKay, Elizabeth Norman. „La Dolce Vita (1820-1822)“. In Franz Schubert, 99–132. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165231.003.0005.
Der volle Inhalt der QuelleMcKay, Elizabeth Norman. „Success and Sickness (1828)“. In Franz Schubert, 291–318. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165231.003.0011.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Instrumental music (Schubert, Franz)"
Deisinger, Marko. „Fortschrittliche Technologie im Dienste eines Antimodernisten. Heinrich Schenker und der österreichische Rundfunk“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.52.
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