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Auswahl der wissenschaftlichen Literatur zum Thema „Transcriptions de Liszt“
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Zeitschriftenartikel zum Thema "Transcriptions de Liszt"
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Davis, Richard. „Liszt Transcriptions“. Musical Times 126, Nr. 1714 (Dezember 1985): 712. http://dx.doi.org/10.2307/965188.
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2
Oláh, Boglárka Eszter. „Transcription, Paraphrase, Creed in Franz Liszt’s Variations on „Weinen, Klagen, Sorgen, Zagen”“. Studia Universitatis Babeş-Bolyai Musica 68, Nr. 2 (30.12.2023): 341–52. http://dx.doi.org/10.24193/subbmusica.2023.2.25.
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"Franz Liszt created a new tradition by playing transcriptions and paraphrasing the most well-known operas and works of his time on his fabulous concerts. This habit created new genres like Transcriptions (Reminiscences de Norma S. 394, Grandes études de Paganini S. 141) and Paraphrases (The Rigoletto Paraphrase S.434, The Ernani Paraphrase S. 432). The Variations on „Weinen Klagen Sorgen Zagen” fits into both categories: On the one hand Liszt paraphrases J.S.Bach’s Crucifixus and the 12th Cantata. On the other hand, he transcribes with a great craftsmanship his piano work for organ. The historical and private background of this work testifies to an extraordinary faith. Keywords: Liszt, Bach, Transcription, Paraphrase, Creed. "
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Walker, Alan. „Liszt and the Schubert Song Transcriptions“. Musical Quarterly 75, Nr. 4 (1991): 248–62. http://dx.doi.org/10.1093/mq/75.4.248.
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Hamburger, Klára. „Unbekannte Liszt-Dokumente aus deutschen Bibliotheken“. Studia Musicologica 53, Nr. 4 (01.09.2012): 383–457. http://dx.doi.org/10.1556/smus.53.2012.4.1.
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The first part of the present documentary publishes fifty-one autograph letters and five short notes of Ferenc Liszt from the collection of the Berlin State Library, written in French and German between 1836 and 1886. Some of those written to music publisher Hermann Härtel concern the edition of compositions such as Consolations and Études ďexécution transcendante, while others touch on his transcriptions. Other letters are addressed to various musicians, friends, lady-friends, etc., among them Richard Wagner and C. F. Weitzmann. In the second part there follow sixteen documents from the Library of the Frankfurt University, among them a receipt of 200 francs from the Duchess of Berry to the young artist in 1824.
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Hamilton, Kenneth. „Franz Liszt, Free Arrangements and Transcriptions for Piano Solo, New Liszt Edition Series II vol. XV, edited by Istvan Kassai and Imre Sulyok (Budapest: Editio Musica Budapest, 2003). 172pp. £24.95“. Nineteenth-Century Music Review 2, Nr. 2 (November 2005): 231–33. http://dx.doi.org/10.1017/s1479409800002469.
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Стейт, Н. Г. „Semantics of b-moll Tonality in Works by F. Liszt (On the Example of Transcriptions of F. Schubert’s Song “Her Portrait” and Hungarian Rhapsody No. 3)“. OPERA MUSICOLOGICA 16/1, Nr. 2024. 16/1 (25.03.2024): 54–75. http://dx.doi.org/10.26156/operamus.2024.16.1.003.
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В статье рассматривается семантика тональности b-moll в произведениях авторов разных эпох — барокко (И. С. Бах), начала XIX в. (Л. Бетховен), романтизма (Ф. Шуберт и Ф. Лист). Комплексный семантический анализ позволил выявить ряд отличительных особенностей, объединяющих трактовку данной тональности в творчестве указанных композиторов, например, использование ими схожих музыкально-риторических фигур (katabasis, epizeuxis). Прослеживаемая преемственность символической трактовки b-moll, а также и других тональностей (например, E-dur), дает возможность приблизиться к интерпретации смысла основополагающих внутритекстовых знаков рассматриваемых музыкальных произведений, что в свою очередь является «отправной точкой» формирования музыкально-художественного образа. Основное внимание в статье уделено анализу трактовки семантики b-moll в творчестве Ф. Листа. Делается вывод о том, что композитор, во многом поддерживая уже сложившуюся ранее традицию в интерпретации тональности, в то же время вкладывал в нее конкретные, подчас поддающиеся вербализации значения. The article deals with the semantics of b-moll tonality in the works of composers of different epochs — Baroque (J. S. Bach), early 19 th century (L. Beethoven), Romanticism (F. Schubert and F. Liszt). Complex semantic analysis thereof allowed us to identify a number of distinctive features shared in the treatment of this tonality in works of the above composers, for example, their use of similar musical and rhetorical figures (katabasis, epizeuxis). The traceable continuity of the symbolic interpretation of b-moll and other tonalities (for example, E-dur) makes it possible to approach the interpretation of the meaning of the fundamental intra-textual signs of the musical works in question, which in turn is the “starting point” for formation of a musical and artistic image. The main attention in the article is paid to the analysis of the interpretation of the semantics of b-moll in the works of F. Liszt. The conclusion is made that the composer, in many respects supporting the previously established tradition of its interpretation also implied specific meanings that could yield verbal explication.
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Lynnyk, M. S. „Rostislav Genika: performer, teacher, composer“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, Nr. 54 (10.12.2019): 39–54. http://dx.doi.org/10.34064/khnum1-54.03.
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Under consideration are various facets of the creative work of Rostislav Genika, a comprehensively educated musician, universally gifted personality, one of the founders of the Kharkov piano school. The research is based on the study of critical reviews of R. Genika’s and his students’ concerts. Under analysis is the main genre of R. Genika as a composer and pianist – a transcription represented by the piece “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. Rostislav Genika (1859 – 1942?) focused on piano art, which can be considered the key basis of all his theoretical, historical and musical-critical generalizations and conclusions, as well as practical activities as a performer, teacher and composer. The education received by R. Genika in the class of N. Rubinstein at the Moscow Conservatory prompted the Kharkov musician to pay tribute to piano performance in the early stages of his career. The information about the pianist R. Genika, which came to us from publications in the press and the memoirs of his colleagues, gives an opportunity to reconstruct, although not in full, the style of his piano playing as a soloist, ensemble performer and accompanist. All this together constituted the subject of a comprehensive review and the relevance of this article. The research material includes reviews of R. Genika’s concerts and an example of his composer’s heritage in the field of piano music – a transcription “Concert Paraphrase” to the motive “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. The purpose of the paper is to reveal the universalism of the composer’s talent, the scale of his work, which was mainly focused on piano performance, through the analysis of various aspects of Rostislav Genika’s creative work. It would be wrong to call R. Genika a concert pianist in the traditional sense of the word. He had few solo concerts in his practice and they refer to the very beginning of his work career in Kharkov. As a concertist, he mostly performed works mastered in the class of N. Rubinstein, as well as piano parts in various ensembles, learnt by him when playing with “K. Gorsky Quartet” and other ensemble performers. The piano repertoire of R. Genika included pieces by I. S. Bach, G. Handel, D. Scarlatti, L. van Beethoven, K. M. Weber, F. Liszt, F. Chopin, R. Schumann, M. Mussorgsky, P. Tchaikovsky and others. Raised on the best examples of piano music, R. Genika appreciated such an interpretation that would meet not only the criteria of "accuracy", but would also be spiritually filled, sublimely emotional, and not outwardly ostentatious. Since the first days of working in Kharkov R. Genika, was able to combine lecturing, performing and correspondent activities with piano pedagogy. The sphere of pedagogy was one of the prevailing and time-consuming in his life. There is quite little information about R. Genika as a teacher and it can be found mainly in the reviews of his students’ concerts, in the notes of the local press as well as in the reports on academic concerts and exams at Kharkov Music College and Conservatory. The personal pianistic experience of R. Genika and the pedagogical style of his teacher N. Rubinshtein affected the choice of virtuoso programs and concert programs for his students. R. Genika’s composing experiments are closely related to his concert-pianistic and pedagogical work, as well as to the study of piano music history. The circle of his genre interests in this area was quite symptomatic. As an ardent supporter of concert pianism traditions R. Genika considered the genre of transcriptions and arangementds in the Liszt-Talberg spirit to be a new wave in piano literature of that time, a promising direction. This is how his transcriptions to the motives from “Parsifal” by R. Wagner, a piano arrangement of the “Arabic Dance” from the “Nutcracker” by P. Tchaikovsky, a fantasy “Abyss” to the motive of E. Grieg appeared. R. Genika also wrote short pieces intended for his concerts, as well as for educational practice. Unfortunately, the score of these works are still either not found or not preserved. An exception is the “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “Snow Maiden” by A. Ostrovsky (author’s handwritten text dedicated to the pianist V. Timanova). Being a pianist was very important for R. Genika. Understanding pianism as a musical aesthetic phenomenon resulted in a multifaceted and deep understanding of the essence of musical art, which was characteristic of R. Genika as a music educator. The musician thought of himself precisely as a “generalist” who could handle any music profession – a performer’s, teacher’s, or researcher’s one. Hence, further study of the creative and critical heritage of R. Genika will invariably affect the spheres of other areas of musical art (opera, chamber, etc.). Such universal personalities as R. Genika have always been an engine for the musical-historical process, idea generator of the era. Nowadays such universal musicians, who would be a kind of "litmus test" of their time and faithfully served the art, are still in need. One of such outstanding figures in Ukraine, a universal personality was Valerii Oleksandrovych Bohdanov (07/13/1939 㶹– 10/10/2017) – performer, teacher, scientific researcher, composer. His multifaceted activities encompassed a wide range of musical art and were reflected in many years of pedagogical work, a large number of research works, transcriptions, and composer’s experiments. We would like to hope that this anniversary collection dedicated to V. Bogdanov will serve as a prelude to a deep and comprehensive study of the life and work of this bright and extraordinary musician.
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Nina, Rudenko. „Raising public awareness in N. O. Yeshchenko’s performance activity“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, Nr. 62 (16.09.2022): 124–40. http://dx.doi.org/10.34064/khnum1-62.08.
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The article is dedicated to an outstanding personality, Merited Artist of Ukraine, professor of Kharkiv I. P. Kotlyarevsky National University of Arts. Nataliia Olexandrivna Yeshchenko (1926–2015) is the pianist, teacher, artist, scientist, who devoted her entire life to music. In her work she preserved traditions of the Kharkiv piano school, the founders of which were P. Lutsenko, O. Horovyts, M. Khazanovskyi. Her rich and fruitful activity left a noticeable mark in the history of piano performance in Ukraine. The work of the famous performer attracted the attention of reviewers and researchers, but it did not specifically focus on such an aspect as public awareness. The purpose of this article is to consider the educational direction of N. O. Yeshchenko’s performance as an important aspect of the work of an outstanding pianist of the 20th century. In the course of the research, it became necessary to turn to archival materials, in particular personal documents of the pianist, reviews of her concerts in periodicals, audio recordings of her works, her repertoire list. Based on the analysis of the mentioned source base, we support the idea that the performance art of N. O. Yeshchenko had a clearly defined educational orientation. Unforgettable was her concert-educational activity, which manifested itself in various aspects of her performance: numerous monographic concerts dedicated to the works of great composers, performances with a symphony orchestra, playing in a piano duet, accompaniment to vocalists and instrumentalists. She willingly took part in concert lectures, performed in front of a wide audience in sponsor concerts, also took part in various concerts in remote areas of the country. She bequeathed such a broad vision of the musician’s performing mission to her students. Thanks to music she constantly had a dialogue with the audience through numerous publications in periodicals. By including little-known or, unfortunately, forgotten works she showed the audience the layers of beautiful music, and was the first performer of works by Ukrainian composers, including Kharkiv authors. Programs (often organized in collaboration with a musicologist) featuring works of a certain genre, such as waltz, rondo, transcriptions, miniatures, introduced the listener to the world of genres still unknown or little known to them. A significant contribution to the treasure trove of Ukrainian performance was the concert performance of world-famous complex cycles of piano literature: 12 F. Liszt`s “Transcendental Etudes” and “24 Preludes” by S. Rachmaninoff. So, the analysis of N. O. Yeshchenko’s performance art shows that raising public awareness in the performance field was the main direction of her activity.
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Górska-Kołodziejska, Agata. „The role of transcription in a didactic process on the examples of chamber works scored for piano for four hands and for two pianos“. Konteksty Kształcenia Muzycznego 7, Nr. 1(11) (31.12.2020): 11–42. http://dx.doi.org/10.5604/01.3001.0014.6462.
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The aim of the article is to demonstrate the need for employing transcriptions of well-known musical works in the teaching of piano performance for four hands and for two pianos. The origins of the concept of transcription is presented, development of transcription in the context of the history of musical forms is traced back, as well as performance-related aspects of a transcription are analysed. The article shows advantages of a transcription as an arrangement developing the pianist’s technique and art of interpretation. The publication also includes a list of the transcribed pieces available from the Petrucci Online Library, as well as a list of original transcriptions of the 19th-century Polish composers scored for four hands. The article also features a link to the recordings of selected transcriptions of popular operatic, symphonic and chamber works, made by the author of the article together with Agata Kalińska-Bonińska.
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Nikolenko, R. „The specifics of the ironic in the Marc-André Hamelin’s creativity on the example of “Variations on a Theme of Paganini”“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, Nr. 52 (03.10.2019): 132–44. http://dx.doi.org/10.34064/khnum1-52.09.
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Background. From the era of romanticism to the present day there is a stable interest of world-renowned virtuoso musicians to such kind of creativity as transcription, which makes it possible to speak not only as a performer, but also to express themselves in the composer’s perspective. Many prominent pianists of different eras have made a significant contribution to this branch of musical art, we need only recall the names of F. Liszt, K. Tausig G. von Bulow, F. Busoni, L. Godowsky, Vladimir Horowitz, Glenn Gould. Among artists of our time, it should be noted the Canadian piano virtuoso and composer Marc-Andre Hamelin, for which transcriptions are characterized by a harmonious combination of technical complications and modernization of the selected thematic material, which provides his music a wide audience. A striking confirmation of this are the thousands of views of his transcriptions on the channel in YouTube. Perhaps one of the secrets of such popularity is not only the actualization of the musical language of the original, but also The article is devoted to the specifics of the ironic, as one of the manifestations of the comic, in creative heritage of the world-famous Canadian pianist and composer Marc-André Hamelin On material Of “Variations on a Theme of Paganini”, which are the most illustrative example in this perspective, the features of the artist’s work with a quote thematic material. Identifies certain dominants of the composer’s style, among them: the destruction elected canons, their modification and approach to the aesthetics of the modern world perception through the use of the musical language of the XX–XXI centuries, as well as the desire for harmonious unification, combining styles of different eras within one work. Objectives. The object of research is a musical composition; its subject of research is the identification of the specifics of the irony in the composer’s style. The purpose of the article is to consider the trends of manifestation of irony and the stylistic orientations in the composer’s work of Hamelin, referring to the most indicative in this aspect of the work “Variations on a Theme of Paganini”. Methodology. Structural-functional and genre-style methods are applied in the consideration of the compositional and stylistic specificity of “Variations on a Theme of Paganini”. To identify the peculiarities of the composer’s work with quotations, the method of comparative analysis was used. The methodological basis consists of the concepts of postmodern citation put forward by such leading researchers and representatives of postmodernism as Umberto Eco and Sigmund Bauman. Presenting the main material. The figure of Niccolo Paganini, enveloped in a mysterious halo, attracted the attention of contemporaries and many artists of subsequent generations, and his creative heritage found a significant response in the musical environment. One of the most famous works of N. Paganini has a cycle “Twenty-four capris” for solo violin, among which the most frequently used for a variety of composer’s interpretations was the theme of Caprice No. 24. Interesting is the fact that it remains relevant, continuing even in the twenty-first century to attract attention. A striking example of this is the Hamelin’s “Variations on a Theme of Paganini” (2011). This work, written for solo piano, is a dedication to the American composer, pianist, conductor, teacher Yehud Weiner and his wife Susan Dewen-Weiner. In his interpretation of Caprice 24, the composer chooses a free interpretation of his figurative and substantial side. This is evidenced not only by the increase in the number of variations (14 instead of 11), but also many other aspects that appear at different levels of composition of the whole. It turns out the specificity of the composer’s work with the quote material, which permeates the whole work, the tendency to its ironic interpretation, as well as harmonious coexistence within the work of styles of different eras, their combination. Results. This work is one of the most striking embodiments of the ironic in the work of the Canadian artist. Here is typical for his style work with the used material quote, the basis of which – the destruction of the selected sample, bringing atypical for the original harmonic, melodic, rhythmic turns. Most often such “curvature” is used at the first posted quote topics. The composer tends to synthesize several styles within the framework of the work, this is often achieved by combining one of the styles of past eras with the styles of modernity, while not contrasting, isolating, contrasting them, but creating a melodic, tonal-harmonic and compositional integrity. Conclusion. Hamelin’s “Variations on a Theme of Paganini” represent a vivid manifestation of the ideas of postmodern worldview in music, which is based on the ironic attitude to the sample of the past.
Dissertationen zum Thema "Transcriptions de Liszt"
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Madsen, 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.
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Thesis (Ph. D.)--University of Oregon, 2003.Typescript. 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.
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Liu, Hongye. „Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt“. Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.
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Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale sur la partition de piano et trahissent le manque d'étude sur la façon dont elles s’interprètent sur piano moderne. Notre recherche prend la performance de la résonance orchestrale au piano comme thème de recherche, à partir des contextes historiques, de la comparaison entre les partitions symphoniques et de leurs transcriptions et de la façon d'interpréter en imitant l'orchestre sur piano moderne. Notre étude comporte trois parties, l'objectif étant de clarifier le concept « partition de piano » et la véritable pensée de Liszt pour ces transcriptions et ainsi d'enrichir le jeu pianistique en imitant la résonance orchestrale à travers l'étude de ces transcriptions des symphonies de Beethoven par LisztLiszt 's transcriptions of Beethoven's symphonies for piano solo are considered the most faithful to the original works. Liszt named these transcriptions « partition de piano » (piano score), specifically referring to reproduction of orchestral resonance on the piano. Liszt also encouraged young pianists of conservatories to learn these transcriptions. However, existing research has been limited to the study of historical sources and score analysis, which overlooked Liszt's description of the orchestral sound effect from the piano score and lacked studies on how they should be performed on the modern piano. The principal theme of our research focuses on the orchestral resonance on the piano, consists of historical contexts, comparison of the symphonic scores with their piano transcriptions, and exploration of how to perform them on the modern piano. Our study is divided into three parts, aiming to clarify the concept of « partition de piano » (piano score) and Liszt's true thinkings behind these transcriptions, and to enrich piano playing by reproducing orchestral resonance through the study of these transcriptions of Beethoven's symphonies by Liszt
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Hamilton, Kenneth. „The opera fantasias and transcriptions of Franz Liszt : a critical study“. Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:021d129f-3b6d-4a55-893c-ba92ea853653.
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The traditional division between "original" and "arrangement" is impossible to sustain for most of Liszt's oeuvre. By virtue of the amount of original creative thinking displayed in his finest operatic fantasies and transcriptions they deserve as detailed a study as any other group of works. Our knowledge is deficient even with regard to identification and dating; the Fantasia on Le Nozze di Figaro and Don Juan is unknown in its original form, while the Fantasia on Il Giuramento has remained unidentified. All of Liszt's works share the same improvisatory approach to composition. Both original and operatic themes are found in his sketchbooks, although sketches of larger sections of the fantasias are rare. Many operatic pieces originated hi concert-improvisations before being committed to paper. Thereafter they were subjected to a process of revision that frequently continued after publication. The operatic fantasias of the 1830's and 40's illustrate Liszt's episodic treatment of musical form, with an indulgence in short-range harmonic effects and little concern for overall tonal planning. Some techniques of thematic metamorphosis and transition anticipate features of Liszt's Weimar compositions, and the roots of his fondness for concluding apotheoses can be clearly seen, particularly in the Fantasia on Der Freischütz. The fantasias and transcriptions vividly illustrate the course of Liszt's compositional and pianistic development, from early precocity through mature mastery to late austerity. The influence of Thalberg can be detected as the motivation for Liszt's return to the operatic fantasia after a hiatus of several years, although he did not adopt aspects of Thalberg's piano style until 1839. His finest fantasias from the years 1839-43 are characterised by bold virtuosity, compositional ingenuity and a striking attempt to encapsulate the dramatic course of an opera within the confines of a fantasia. As operatic pieces formed a large part of Liszt's concert repertoire until 1848 they were almost invariably based on operas of proven popularity. A more innovative and altruistic choice of material is evident only from the beginning of the Weimar period.
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Carenco, Céline. „L'influence des transcriptions d'œuvres d'Hector Berlioz sur l'écriture orchestrale de Franz Liszt“. Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2199.
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L’objet de cette thèse est l’étude de la musique de Franz Liszt de 1830 à 1850 environ. Il s’agit de comprendre comment le musicien, qui garde Paris comme principal port d’attache de décembre 1823 à avril 1844, élabore peu à peu, lors de ses années d’apprentissage au cœur de la révolution romantique, une écriture orchestrale qu’il mettra en pratique à partir de 1848 à Weimar. En effet, pendant cette période parisienne, Liszt transcrit pour le piano de nombreuses partitions d’orchestre : il est probable qu’en plus de l’encourager à révolutionner l’écriture pianistique, et ainsi à inventer le piano moderne, cet exercice lui permet d’acquérir une certaine connaissance de l’écriture orchestrale de son temps. Ce postulat prend tout son sens lorsqu’on observe que parmi les auteurs que Liszt transcrit le plus et en premier se trouve Berlioz, habituellement considéré comme l’inventeur de l’orchestre moderne.L’approche adoptée s’inscrit dans deux champs de la musicologie traditionnelle, l’analyse et l’histoire, et dans une branche plus récente de la discipline, les études génétiques. Il est effectivement nécessaire de replacer tout d’abord chaque transcription dans son contexte, pour évaluer l’influence des réécritures lisztiennes d’œuvres de Berlioz sur l’élaboration de sa propre écriture orchestrale. Par ailleurs, le point de vue se place du côté de la création : l’analyse d’une grande quantité d’esquisses et de brouillons donne des informations sur la manière dont Liszt aboutit à l’écriture orchestrale qui est la sienne dans la décennie 1850, au cours de laquelle il produit la majeure partie de ses œuvres symphoniquesThe object of the present thesis is Franz Liszt’s production from the years 1830-1850. Liszt is mostly based in Paris between December 1823 and April 1844 and during this training at the very heart of the Romantic revolution, he gradually develops a writing style for his orchestral pieces that he will put into practice in Weimar after 1848. During these Parisian years, Liszt writes many piano arrangements of orchestral scores, and here we propose that it provided the basis for his revolution of piano music, but also made him quite familiar with the orchestral writing of his time. It is indeed of particular significance that Berlioz – often considered the father of modern orchestra – is one of the composers Liszt transcribed most often, from very early on.We use two complementary approaches from the field of musicology, traditional historical analysis and more recent techniques of sketch studies. To understand if and how Liszt’s rewritings of Berlioz’ work influenced his own orchestral style we first studied each arrangement in its context. We then focused on the genesis of these pieces by analysing a great amount of sketches and drafts in order to shed light on the maturation process that led to Liszt’s fully-fledged orchestral style from the 1850’s (the decade in which he produced most his symphonic works)
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Knoll, Moises S., und Moises S. Knoll. „A study of selected Liszt transcriptions of Schubert Lieder: aesthetic and technical aspects“. Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624863.
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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."
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Lin, Chia-Yin. „The Liszt transcriptions for piano of songs by Beethoven, Chopin, and Mendelssohn : inspiration, process and intention /“. Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11403.
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Cloutier, David 1948. „A Comparison of the Transcription Techniques of Godowsky and Liszt as Exemplified in Their Transcriptions of Three Schubert Lieder“. Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331767/.
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This investigation sought to compare the transcription techniques of two pianist-composers, Godowsky and Liszt, using three Schubert lieder as examples. The lieder were "Das Wandern" from Die Schöne Müllerin, "Gute Nacht" from Winterreise, and "Liebesbotschaft" from Schwanengesang. They were compared using four criteria: tonality, counterpoint, timbral effects, and harmony. Liszt, following a practice common in the nineteenth century, was primarily concerned with bringing new music into the home of the domestic pianist. The piano transcription was the most widely used and successful medium for accomplishing this. Liszt also frequently transcribed pieces of a particular composer in order to promulgate them by featuring them in his recitals. The Schubert lieder fall into this category. Liszt did not drastically alter the original in these compositions. Indeed, in the cases of "Liebesbotschaft" and "Das Wandern," very little alteration beyond the incorporation of the melody into the piano accompaniment, occurs.Godowsky, in contrast, viewed the transcription as a vehicle for composing a new piece. He intended to improve upon the original by adding his own inspiration to it. Godowsky was particularly ingenious in adding counterpoint, often chromatic, to the original. Examples of Godowsky's use of counterpoint can be found in "Das Wandern" and "Gute Nacht." While Liszt strove to remain faithful to Schubert's intentions, Godowsky exercised his ingenuity at will, being only loosely concerned with the texture and atmosphere of the lieder. "Gute Nacht" and "Liebesbotschaft" are two examples that show how far afield Godowsky could stray from the original by the addition of chromatic voicing and counterpoint. Godowsky*s compositions can be viewed as perhaps the final statement on the possibilities of piano writing in the traditional sense. As such these works deserve to be investigated and performed.
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Pierce, Stephen R. „An Examination of Alexander Siloti’s Printed Solo Piano Transcriptions of Works by J. S. Bach“. University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1322052457.
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Kim, Ah Young. „A Guide to Franz Liszt's Piano Transcriptions of Franz Schubert's Songs“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984280/.
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Franz Liszt (1811-1886) made fifty-six transcriptions of Schubert's songs over a period of eight years (1838-46) to introduce the name of the composer, who was little known both in and outside Vienna during his lifetime. Because Liszt intentionally preserved all the details of the original songs, these transcriptions present challenges for a pianist, such as how to produce a vocal line on the piano, as well as interpretive issues such as ornamentation, style, and conveying the meaning of the lyrics on the piano. The purpose of this study is to introduce pianists to study practices employed by singers, with the goal of interpreting the vocal aspects of Liszt's Schubert song transcriptions. The composer Robert Schumann once remarked that Liszt's transcriptions were perhaps the most difficult pieces written for the piano up to that time, and only an intelligent artist could satisfy Liszt's high level of virtuosity without destroying the identity of the original work. This could be considered a warning to pianists not to focus on the technical aspects only. The pedagogical guide presented in the study, based on singers' approaches to the actual songs, should help pianists to "see beyond the notes" and achieve a performance closer to the heart of the songs.
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Sheldon, Vanessa Renee. „Franz Liszt and the harp: An examination of his lifelong interactions with harpists and transcriptions of four solo piano compositions for harp“. Diss., The University of Arizona, 2005. http://hdl.handle.net/10150/282893.
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The main objective of this document is to investigate the suitability and aptness of performing the solo piano music of Franz Liszt (1811-1886) on the harp. This has been accomplished by dividing Liszt's career into four periods and examining the various connections he retained with harpists with during each of these periods. For each of these harpists the author shows how they became associated with Liszt, the scope of their work together, and demonstrates their influence on his life and compositional style, including musical examples where appropriate. As part of this research project the author also offers four of her own transcriptions of Liszt's solo piano compositions, corresponding from each of the four life stages, explaining why these are idiomatic for performance on the harp. This document also examines and explains any changes made from the original to the transcription with the inclusion of musical examples. These transcriptions, included in the document as appendices, are ready for publication and will hopefully become valuable additions to the harp repertoire.
Bücher zum Thema "Transcriptions de Liszt"
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Jervis, Simon. British and Irish inventories: A list and bibliography of published transcriptions of secular inventories. Leeds: Furniture History Society, 2010.
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Liszt, Franz. The Schubert Song Transcriptions for Solo Piano / Series III: The Complete Schwanengesang (Schubert's Complete Song Texts). Dover Publications, 1999.
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Smith, Rollin. Great Organ Transcriptions: 26 Works by Liszt, Saint-Saens, Bach and Others. Dover Publications, 2005.
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Neue Liszt-Ausgabe.: New Liszt edition. Index of the series I, Works for piano solo, volumes 1-18 and the series II, Free arrangements and transcriptions for piano solo, volumes 1-24. Budapest: Editio Musica, 1990.
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Liszt, Franz, und Charles Gounod. Valse de l'Opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics Trade Press, 2018.
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Valse de L'opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics, 2018.
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Liszt, Franz, und Charles Gounod. Valse de l'Opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics Trade Press, 2018.
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Liszt, Franz, und Charles Gounod. Valse de l'Opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics Trade Press, 2018.
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Liszt, Franz, und Charles Gounod. Valse de L'opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics, 2018.
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Linn, Jo W. Stokes County, North Carolina, 1815 Tax List: Annotated Transcriptions. Jo White Linn, 1997.
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Bhalla, Parinishtha, Anukriti Verma, Bhawna Rathi, Shivani Sharda und Pallavi Somvanshi. „Exploring Molecular Signatures in Spondyloarthritis: A Step Towards Early Diagnosis“. In Proceedings of the Conference BioSangam 2022: Emerging Trends in Biotechnology (BIOSANGAM 2022), 142–55. Dordrecht: Atlantis Press International BV, 2022. http://dx.doi.org/10.2991/978-94-6463-020-6_15.
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AbstractSpondyloarthritis is an acute inflammatory disorder of the musculoskeletal system often accompanied by pain, stiffness, bone and tissue damage. It majorly consists of ankylosing spondylitis, psoriatic arthritis and reactive arthritis. It follows a differential diagnosis pattern for demarcation between the spondyloarthritis subtypes and other arthritic subtypes such as rheumatoid arthritis, juvenile arthritis and osteoarthritis due to the heterogeneity causing gradual chronicity and complications. Presence of definite molecular markers can not only improve diagnosis efficiency but also aid in their prognosis and therapy. This study is an attempt to compose a refined list of such unique and common molecular signatures of the considered subtypes, by employing a reductionist approach amalgamating gene retrieval, protein-protein interaction network, functional, pathway, micro-RNA-gene and transcription factor-gene regulatory network analysis. Gene retrieval and protein-protein interaction network analysis resulted in unique and common interacting genes of arthritis subtypes. Functional annotation and pathway analysis found vital functions and pathways unique and common in arthritis subtypes. Furthermore, miRNA-gene and transcription factor-gene interaction networks retrieved unique and common miRNA’s and transcription factors in arthritis subtypes. Furthermore, the study identified important signatures of arthritis subtypes that can serve as markers assisting in prognosis, early diagnosis and personalized treatment of arthritis patients requiring validation via prospective experimental studies.
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Gatt, Kurstin. „Perceptions of Malta in Arabic Proverbs and Idioms“. In Semitic Languages and Cultures, 315–38. Cambridge, UK: Open Book Publishers, 2025. https://doi.org/10.11647/obp.0445.11.
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This contribution explores perceptions of Malta, its people, and its language through the lens of Arabic proverbs and idioms, offering a cultural and linguistic analysis within the field of paremiology. By examining a curated list of proverbs and their thematic implications, the study reveals how Malta is portrayed across various Arabic-speaking communities. The research identifies six key themes: Malta as a distant or unreachable place, a non-existent location, a symbol of religious devotion, a representation of importunate behaviour, a linguistic enigma, and a symbol of resilience during hardship. These portrayals stem from historical, cultural, and geographic factors, reflecting a mix of admiration, humour, and skepticism. The study employs transcription and translation to document proverbs, supported by contextual analysis and anecdotal evidence. For instance, Malta is depicted as an unfamiliar location in Levantine and Syrian expressions, while Tunisian and Moroccan sayings highlight perceptions of linguistic incomprehensibility and the Maltese character. The contribution also addresses proverbs tied to historical events, such as Malta’s resistance to Ottoman invasions, which have left enduring legacies in local oral traditions. This analysis underscores the role of proverbs as cultural artifacts, revealing societal values and inter-group dynamics. It advocates for further research into the representation of Malta in other linguistic traditions and the portrayal of different cultures in Arabic proverbs. The study contributes to understanding the intersection of language, culture, and perception in popular sayings.
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Watson, Derek. „Transcriptions“. In Liszt, 193–217. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0010.
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Abstract No one knew better than Liszt that the piano in the nineteenth century had assumed the importance of the orchestra. This helps explain why the names of eighty composers will be found in section XI of Appendix B. Liszt’s transcriptions and arrangements form, collectively, the most remarkable aspect of his industry - an industry unique among the great transcribers in musical history.
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Watson, Derek. „Organ and chamber music“. In Liszt, 285–90. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0014.
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Abstract The Margittay edition of the complete organ works contains forty-seven items. Of these eleven are transcriptions from other composers - Arcadelt, Bach, Chopin, Lassus, Mozart, Nicolai, Verdi and Wagner.
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Watson, Derek. „Musical language: technique and transformation“. In Liszt, 180–92. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0009.
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Abstract Liszt’s absorption of musical styles in his youth and early maturity is as wide as the map of his travels. The list of composers from whom he made transcriptions is long, and includes some who shaped his own musical language. He had a thorough grounding in Bach and the Viennese classics. His teacher Czerny, the revered Beethoven and, later, Schubert were primary influences.
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„3. Liszt And The Schubert Song Transcriptions“. In Reflections on Liszt, 27–39. Cornell University Press, 2018. http://dx.doi.org/10.7591/9781501717031-006.
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„Appendix: Transcriptions and Translations of Contemporaneous Reviews of Liszt’s Lieder (1843–9)“. In Liszt Recomposed, 195–208. Boydell and Brewer, 2024. http://dx.doi.org/10.1515/9781805433408-008.
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„The Gregarious Art of Music (1927)“. In Grainger on Music, herausgegeben von Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur und David Pear, 179–83. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0024.
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Abstract Editor’s Note: In the course of this article Mr. Grainger lays emphasis on the fact that the more gregarious the musical disposition of musical workers-the less esteem of themselves as soloists and the more regard they possess for music in ensemble—the greater the interest of the community is likely to become in their art, in the long run. He devotes special attention to the possibilities when two or more pianists get together, and walks into the people who stiltedly declare themselves against transcriptions and arrangements. Incidental to that, it may be mentioned that the paraphrasing of music has been much practised in the best circles—by Bach, Brahms, Schumann, and Handel as well as by Liszt, Tchaikovsky, Strauss, Saint-Saens, Gounod, and Berlioz, and a whole host of them.
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Kregor, Jonathan. „Transcription“. In Liszt in Context, 209–18. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108378253.027.
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„Transcription“. In The Quran: Word List (Volume 3), ix—x. Gorgias Press, 2020. http://dx.doi.org/10.31826/9781463241780-002.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Transcriptions de Liszt"
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Bogdanova-Beglarian, Natalia V., und Daria A. Stoyka. „ORTHOEPIC NORMS ARE NOT A DOGMA, BUT A LIVING SYSTEM“. In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.05.
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According to L. A. Verbitskaya, the norm is “a set of phenomena allowed by the language system, selected and fixed in the speech of native speakers and mandatory for all who speak the literary language at a certain period of time”. The norm is static, it makes the literary language understandable for everyone and at any time. Researchers, however, noticed that the norm is a constant only with a great deal of convention. The codified norm is opposed by the real “norm–usus”, which is well understood by native speakers, but hasn’t been recorded almost anywhere. A good exception are the reduced forms (RF) of Russian super–frequency words. According to the compilers, RF is not just speech errors of people in a hurry, but the result of the evolutionary development of the language. Many of them can already be qualified as the norm of colloquial speech. The dictionary contains the most complete information about each form: from the written appearance of the original unit to real transcription based on auditory and instrumental analysis of contexts from the corpus of Russian everyday speech. This dictionary has a specific potential user: teachers of Russian as a foreign language (RFL) and foreign students. They hear these forms in our speech, see them in written texts — in the speech of literary characters — and don’t know how to use them and even often — how to understand them. The dictionary offers a compact list of such forms (100 units), with examples, simplified transcription and frequency lists, which makes it virtually a ready–made manual for RFL. Refs 22.
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Gorobets, Valentina, Roman Billeter, Rolf Adelsberger und Andreas Kunz. „Automatic transcription of the Methods-Time Measurement MTM-1 motions in VR“. In Human Interaction and Emerging Technologies (IHIET-AI 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004575.
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We concentrate our research on using VR technology for the automatic transcription of basic human motions in the Methods-Time Measurement (MTM) system. It is a predetermined motion time system that consists of a list of predefined basic motions and the mean time values corresponding to those motions. This system is used to analyze manual workplaces. Currently, the MTM analysis is conducted manually. The working process that needs to be analyzed is video captured and further analyzed by dividing it into a sequence of basic MTM motions. There are various MTM systems that differ by their granularity level, such as MTM-1, MTM-2, MTM-UAS, etc.We propose and evaluate an approach of the automatic transcription of the MTM-1 basic motions. Here are the MTM-1 basic motions our algorithm transcribes that are grouped by the involved body parts. Hand motions: Grasp, Release, Position, Disengage, Apply pressure. Arm motions: Reach, Move, Crank, Turn. Body motions: Sit, Bend, Kneel one knee, Kneel both knees. Leg motions: Step, Leg gestures.Methodology: For our research, we use Unity software to create the virtual environment (VE) and interactions within it. Additionally, we use the HTC Vive tracking system and Sensoryx VRfree data glove that enable body- and hand-tracking. Additionally, the MTM-1 system distinguishes between different grasping types, therefore, using hand-tracking technology instead of controllers becomes essential. To visualize the VE, an HTC Vive Pro headset is used. Our automatic transcription algorithm employs four decision trees that run simultaneously, each dedicated to transcribing hand, arm, body, and leg motions in real time.Hand motions occur when objects are grasped or released. Therefore, the trigger for the hand motion decision tree is the beginning or end of touching an object. Hand motions were observed to commonly occur in the following order: Grasp -> Disengage -> Position -> Apply pressure -> Release. The grasp and release motions are always present in a cycle. The motions disengage, position, and apply pressure are optional in a cycle and are performed while holding an object, so between grasping and releasing.Arm motions decision tree is triggered by obtaining the output of the hand motion decision tree. It is transcribed backward, using the recorded information. The body motions category consists of bending, sitting, and kneeling motions. The assumed initial state of the user is the standing position. These motions occur sequentially, so to transcribe a kneeling motion, the threshold values for the sit (T_sit) and bend (T_Bend) motion must also be achieved.The leg motions consist of step motions and leg gestures. A leg gesture is a motion where only the leg and/or foot move, for example, pressing a pedal. The metric chosen to detect these motions is the velocity of the foot. Results: We conducted the user study with 33 participants, which performed a total of 2738 motions. 2670 of them were true positives (TP), and 176 were false positives (FP). 68 of the motions performed by the users were not captured by the algorithm and represent the false negatives (FN). Additionally, we introduced precision and recall metrics.Precision = sum(TP)/(sum(FP)+sum(TP))=0.938; Recall = sum(TP)/(sum(FN)+sum(TP))=0.975Besides overall statistics, we also calculated statistics separately for every basic motion type.
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Sato, Taisuke, und Ryosuke Kojima. „Boolean Network Learning in Vector Spaces for Genome-wide Network Analysis“. In 18th International Conference on Principles of Knowledge Representation and Reasoning {KR-2021}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/kr.2021/53.
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Boolean networks (BNs) are one of the standard tools for modeling gene regulatory networks in biology but their learning has been limited to small networks due to computational difficulty. Aiming at unprecedented scalability, we focus on a subclass of BNs called AND/OR Boolean networks where Boolean formulas are restricted to a conjunction or a disjunction of literals. We represent an AND/OR BN with N nodes by an N x 2N binary matrix Q paired with an N dimensional integer vector theta called a threshold vector, a state of the BN by an N dimensional binary state vector s and a state transition by matrix operations on Q, theta and s. Given a list of state transitions S = s_0...s_L, we learn Q and theta in a continuous space by minimizing a cost function J(Q*,theta,S) w.r.t. a real number matrix Q* and theta while thresholding Q* into a binary matrix Q using theta so that Q represents an AND/OR BN realizing the target state transitions S. We conducted experiments with artificial and real data sets to check scalability and accuracy of our learning algorithm. First we randomly generated AND/OR BNs up to N=5,000 nodes and empirically confirmed O(N^2) learning time behavior using them. We also observed 99.8% bit-by-bit prediction accuracy (prediction accuracy = 1 - test error) with state transition data generated by AND/OR BNs. For real data, we learned genome-wide AND/OR BNs with 10,928 nodes for budding yeast from transcription profiling data sets, each containing 10,928 mRNAs and 40 transitions and achieved for instance 84.3% prediction accuracy and successfully extracted more than 6,000 small AND/ORs whose average prediction accuracy reaches much higher 94.9%.
Berichte der Organisationen zum Thema "Transcriptions de Liszt"
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Gundacker, Roman. The Names of the Kings of the Fifth Dynasty According to Manetho. Verlag der Österreichischen Akademie der Wissenschaften, Dezember 2018. http://dx.doi.org/10.1553/erc_stg_757951_r._gundacker_the_names_of_the_kings_of_the_fifth_dynasty.
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The names of the kings of the Fifth Dynasty may serve as a prototypical example for the re-evaluation of Manetho’s king-list: Userkaf, Sahure, Neferirkare, Shepseskare, Reneferef, Nirewoser, Djedkare-Isesi and Unas are all recorded in the king-list of Manetho as transmitted by Sextus Julius Africanus according to the Ecloga chronographiae of George Syncellus. Although the names as preserved have obviously suffered on a long way of copying manuscripts over and over again, a closer look at the Greek transcriptions reveals the high quality and the still unbroken relevance of Manetho’s Aegyptiaca for modern Egyptological scholarship, when dealing with chronology, onomastics and linguistics. As will be shown, there is a line, identifiable with variable degrees of difficultly but finally clearly discernible, which leads all the way down from the Old Kingdom to Manetho’s Aegyptiaca.
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Maquat, Lynne. Final report: FASEB Summer Research Conference on ''Post-transcriptional control of gene expression: Effectors of mRNA decay'' [agenda and attendees list]. Office of Scientific and Technical Information (OSTI), Dezember 2002. http://dx.doi.org/10.2172/808649.
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Citovsky, Vitaly, und Yedidya Gafni. Viral and Host Cell Determinants of Nuclear Import and Export of the Tomato Yellow Leaf Curl Virus in Tomato Plants. United States Department of Agriculture, August 2002. http://dx.doi.org/10.32747/2002.7585200.bard.
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Tomato yellow leaf curl geminivirus (TYLCV) is a major pathogen of cultivated tomato, causing up to 100% crop loss in many parts of the world. In Israel, where TYLCV epidemics have been recorded since the 1960' s, this viral disease is well known and has been of economic significance ever since. In recent years, TYLCV outbreaks also occurred in the "New World" - Cuba, The Dominican Republic, and in the USA, in Florida, Georgia and Louisiana. Thus, TYLCV substantially hinders tomato growth throughout the world. Surprisingly, however, little is known about the molecular mechanisms of TYLCV interaction with the host tomato cells. The present proposal, a continuation of the project supported by BARD from 1994, expanded our understanding of the molecular mechanisms by which TYLCV enters the host cell nucleus for replication and transcription and exits it for the subsequent cell-to-cell spread. Our project sought two objectives: I. To study the roles of the viral capsid protein (CP) and host cell factors in TYLCV nuclear import. II. To study the roles of CP and host cell factors in TYLCV nuclear export. Our research toward these goals have produced the following major achievements: . Developed a one-hybrid assay for protein nuclear export and import (#3 in the List of Publications). . Identified a functional nuclear export signal (NES) in the capsid protein (CP) of TYLCV (#3 in the List of Publications). . Discovered homotypic interactions between intact TYLCV CP molecules and analyzed these interactions using deletion mutagenesis of TYLCV CP (#5 in the List of Publications). . Showed developmental and tissue-specific expression of the host factor required for nuclear import of TYLCV CP, tomato karyopherin alpha 1, in transgenic tomato plants (#14 in the List of Publications). . By analogy to nuclear import of TYLCV ,identified an Arabidopsis VIPI protein that participates in nuclear import of Agrobacterium T -complexes via the karyopherin alpha pathway (#4,6, and 8 in the List of Publications). These research findings provided significant insights into (i) the molecular pathway of TYLCV entry into the host cell nucleus, and (ii) the mechanism by which TYLCV is exported from the nucleus for the cell-to-cell spread of infection. Furthermore, the obtained knowledge will help to develop specific strategies to attenuate TYLCV infection, for example, by blocking viral entry into and/or exit out of the host cell nucleus. Also, as much of our findings is relevant to all geminiviruses, new anti- TYLCV approaches developed based on the results of our research will be useful to combat other members of the Geminivirus family. Finally, in addition to the study of TYLCV nuclear import and export, our research contributed to our understanding of general mechanisms for nucleocytoplasmic shuttling of proteins and nucleic acids in plant cells.
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Elroy-Stein, Orna, und Dmitry Belostotsky. Mechanism of Internal Initiation of Translation in Plants. United States Department of Agriculture, Dezember 2010. http://dx.doi.org/10.32747/2010.7696518.bard.
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Original objectives Elucidation of PABP's role in crTMV148 IRES function in-vitro using wheat germ extract and krebs-2 cells extract. Fully achieved. Elucidation of PABP's role in crTMV148 IRES function in-vivo in Arabidopsis. Characterization of the physical interactions of PABP and other potential ITAFs with crTMV148 IRES. Partly achieved. To conduct search for additional ITAFs using different approaches and evaluate the candidates. Partly achieved. Background of the topic The power of internal translation via the activity of internal ribosomal entry site (IRES) elements allow coordinated synthesis of multiple gene products from a single transcription unit, and thereby enables to bypass the need for sequential transformation with multiple independent transgenes. The key goal of this project was to identify and analyze the IRES-trans-acting factors (ITAFs) that mediate the activity of a crucifer-infecting tobamovirus (crTMV148) IRES. The remarkable conservation of the IRES activity across the phylogenetic spectrum (yeast, plants and animals) strongly suggests that key ITAFs that mediate its activity are themselves highly conserved. Thus, crTMV148 IRES offers opportunity for elucidation of the fundamental mechanisms underlying internal translation in higher plants in order to enable its rational manipulation for the purpose of agricultural biotechnology. Major conclusions and achievements. - CrTMV IRES requires PABP for maximal activity. This conclusion was achieved by PABP depletion and reconstitution of wheat germ- and Krebs2-derived in-vitro translation assays using Arabidopsis-derived PABP2, 3, 5, 8 and yeast Pab1p. - Mutations in the internal polypurine tract of the IRES decrease the high-affinity binding of all phylogenetically divergent PABPs derived from Arabidopsis and yeast in electro mobility gel shift assays. - Mutations in the internal polypurine tract decrease IRES activity in-vivo. - The 3'-poly(A) tail enhances crTMV148 IRES activity more efficiently in the absence of 5'-methylated cap. - In-vivo assembled RNPs containing proteins specifically associated with the IRES were purified from HEK293 cells using the RNA Affinity in Tandem (RAT) approach followed by their identification by mass spectroscopy. - This study yielded a list of potential protein candidates that may serve as ITAFs of crTMV148 IRES activity, among them are a/b tubulin, a/g actin, GAPDH, enolase 1, ribonuclease/angiogenin inhibitor 1, 26S proteasome subunit p45, rpSA, eEF1Bδ, and proteasome b5 subunit. Implications, both scientific and agriculture. The fact that the 3'-poly(A) tail enhances crTMV148 IRES activity more efficiently in the absence of 5'-methylated cap suggests a potential joint interaction between PABP, the IRES sequence and the 3'-poly(A). This has an important scientific implication related to IRES function in general.
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Tucker, Mark L., Shimon Meir, Amnon Lers, Sonia Philosoph-Hadas und Cai-Zhong Jiang. Elucidation of signaling pathways that regulate ethylene-induced leaf and flower abscission of agriculturally important plants. United States Department of Agriculture, Januar 2012. http://dx.doi.org/10.32747/2012.7597929.bard.
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The Problem: Abscission is a highly regulated process, occurring as a natural terminal stage of development, in which various organs are separated from the parent plant. In most plant species, the process is initiated by a decrease in active auxin in the abscission zone (AZ) and an increase in ethylene, and may be accelerated by postharvest or environmental stresses. Another potential key regulator in abscission is IDA (Inflorescence Deficient in Abscission), which was identified as an essential peptide signal for floral organ abscission in Arabidopsis. However, information is still lacking regarding the molecular mechanisms integrating all these regulators. In our previous BARD funded research we made substantial progress towards understanding these molecular events in tomato, and the study is still in progress. We established a powerful platform for analysis of genes for regulatory proteins expressed in AZ. We identified changes in gene expression for several transcription factors (TFs) directly linked to ethylene and auxin signaling and several additional regulatory proteins not so obviously linked to these hormones. Moreover, we demonstrated using a virus-induced gene silencing (VIGS) assay that several play a functional role in the onset of abscission. Based on these results we have selected 14 genes for further analysis in stably transformed tomato plants. All 14 genes were suppressed by RNA interference (RNAi) using a constitutive promoter, and 5 of them were also suppressed using an abscission-specific promoter. Transformations are currently at different stages of progress including some lines that already display an abscission phenotype. Objectives: We propose here to (1) complete the functional analysis of the stably transformed tomato plants with T2 lines and perform transcriptome analysis using custom abscission-specific microarrays; (2) conduct an indepth analysis of the role of IDA signaling in tomato leaf and flower abscission; (3) perform transcriptome and proteome analyses to extend the earlier gene expression studies to identify transcripts and proteins that are highly specific to the separation layer (i.e., target cells for cell separation) prior to the onset of abscission; (4) extend and compliment the work in tomato using a winnowed set of genes in soybean. Methodology: Next Generation Sequencing (NGS) of mRNA will be used to further increase the list of abscission-associated genes, and for preparation of a custom tomato abscission microarray to test altered gene expression in transgenic plants. Tandem mass spectrometry (LC-MS/MS) of protein extracts from leaf petiole, flower pedicel and their AZ tissues will be used to identify the proteome of the AZ before and during abscission. AZ-specific gene promoters will be used in stably transformed tomato plants to reduce non-target phenotypes. The bean pod mottle virus (BPMV) plasmid vectors will be used for VIGS analysis in soybean. Expected Contribution: Our study will provide new insights into the regulation of ethylene-induced abscission by further revealing the role of key regulators in the process. This will permit development of novel techniques for manipulating leaf and flower abscission, thereby improving the postharvest performance of agriculturally important crops.