Relevant bibliographies by topics / Schubert

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
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Academic literature on the topic 'Schubert'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Schubert"

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Solomon, Maynard. "Schubert: Family Matters." 19th-Century Music 28, no. 1 (2004): 3–14. http://dx.doi.org/10.1525/ncm.2004.28.1.3.

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Certain anomalous events in the history of Franz Schubert's family raise the possibility that he and his family inhabited a more tumultuous and conflict-ridden domestic universe than has been suspected. Among these are a series of painful losses in his mother's early life, the out-of-wedlock conception of Schubert's eldest brother, Ignaz, and Ignaz's subsequent omission from a schedule of heirs to some family property, along with his extended relegation to the lowly post of assistant teacher for more than a quarter century, until the death of his father, Franz Theodor Schubert, in 1830. In the background of these anomalies is the young Franz Theodor's unexpectedly rapid rise to prosperity in his profession, in which he and his sons had the decisive support of Bishop Josef Spendou, Vienna's superintendent of elementary schools, who was regarded as their "benefactor." Spendou's remarkably extensive devotion to the family's interestsÑincluding supplying a "scholarship" for Ignaz and a valued schoolteacher's post for young FerdinandÑopens for inspection several possibilities--that he may have been Ignaz's biological father, and that he and Schubert's parents may have entered into an arrangement whereby he furnished material and professional support to them in exchange for their raising his son as their own. Ultimately, when Franz Theodor died, Ignaz became the sole inheritor of the family's prosperous school, perhaps thereby closing the circle of pledges and obligations that bound Bishop Spendou and the Schuberts together. Left unexamined here are the potential reactions of Schubert and his siblings to their presumed knowledge of these veiled arrangements.
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Wyciślik, Karolina. ">>Cudownie nieartykułowana mowa dźwięków<<. Muzyczno-literacki motyw lipy w pieśni piątej z „Winterreise” Franza Schuberta i „Der Lindenbaum” Wilhelma Müllera w przekładzie Stanisława Barańczaka." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 8 (December 23, 2020): 272–85. http://dx.doi.org/10.24917/23534583.8.17.

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W 1827 roku Franz Schubert wydał cykl pieśni Winterreise. Z kolei 167 lat później Stanisław Barańczak opublikował tom Podróż zimowa. Wiersze do muzyki Franza Schuberta. Romantyczna pieśń zapoczątkowana przez austriackiego kompozytora dała nową sposobność do przekazania ekspresji poprzez słowo śpiewane i towarzyszącą muzykę. Artykuł na podstawie Pieśni V, zatytułowanej Der Lindenbaum (Lipa), przedstawia korelacje zachodzące na płaszczyźnie między Schubertem, Wilhelmem Müllerem a Barańczakiem. Jest to jedyny wiersz w cyklu, który Barańczak przełożył z języka niemieckiego. Powstające we wspólnym muzyczno-literackim obszarze sensy autorka lokuje w różnych systemach znaczeniowych: tekstu literackiego, możliwych sytuacjach intertekstualnych oraz istnienia dzieła literackiego wobec muzyki, i odpowiada na pytanie, jak w tej sytuacji topika drzewa znaczy w wierszu Barańczaka połączonym z muzyką Schuberta.
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Eppstein, Hans. "Schütz - Schubert - Hugo Wolf." Schütz-Jahrbuch 7 (August 18, 2017): 62–68. http://dx.doi.org/10.13141/sjb.v1986689.

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1967 charakterisierte Thrasybulos Georgiades in seinem Aufsatz "Schubert und Schütz" die beiden Komponisten als Eckpfeiler deutscher Musik, in denen die Verbindung von Musik mit gesprochenem Wort kulminiert. Die Entwicklung, die Georgiades an dieser Stelle von Schütz zu Schubert zieht, kann weitergezogen werden bis zu Wolf. Denn die Qualität und Einzigartigkeit der Wolfschen Lieder werden durch ein tiefgreifendes Verständnis des Komponisten für die vertonten Texte begründet, das - trotz einiger Unterschiede - mit Schuberts Textgefühl verglichen werden kann.
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Carbó, Ferran. "Franz Schubert en Màrius Torres." Studia Romanica Posnaniensia 48, no. 3 (October 14, 2021): 19–34. http://dx.doi.org/10.14746/strop.2021.483.002.

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This study reviews the presence of the composer Franz Schubert in five poems by Màrius Torres. These texts were written between 1933 and 1938, while Torres consolidated and evolved as a poet. The writer from Lleida performed musical scores with the piano and the Austrian composer, through his Lieder, became a model, something that is evident in the different ways in which transtextuality is present, not only between the songs’ lyrics and Torres’ poems, but also between the musical compositions and these same poems. This study analyzes how, on the one hand, Schubert’s Lieder “Der Erlkönig” and “Der Tod und das Mädchen”, with texts by Johann Wolfgang Goethe and Matthias Claudius respectively, work as a starting point – or hypotext – for three poems by the Catalan poet, “El rei dels verns”, “La Mort i el Jove” and “Paraules de la Mort”, thus converted into hypertexts. On the other hand, Torres’ two poems “Adverbis de Schubert” and “Mai” refer to the Austrian composer from the intertextual relationship with the poem “Jamais” by Alfred de Musset. At the same time Torres mentions Schubert and the Lied “Ständchen” with text by Ludwig Rellstab in “Adverbis de Schubert”, but the Catalan poet hides Schubert’s copresence in “Mai”.
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Leppert, Richard. "On Reading Adorno Hearing Schubert." 19th-Century Music 29, no. 1 (2005): 056–63. http://dx.doi.org/10.1525/ncm.2005.29.1.56.

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Adorno's "Schubert" textually reenacts what he recognizes in Schubert's music, repeating himself but with subtle differences, as though he were holding up a cut gem to light and turning it to see the differences manifested in its facets. Adorno's ideas about this music are less developed than juxtaposed, often paratactically, so as to constitute what Benjamin termed a constellation. What Adorno hears in Schubert is a kind of reciprocity toward otherness. Schubert's "landscape," for Adorno, is grounded in the realm of the cultural imaginary; it represents for him a declaration of love, defined by the difference between subject and object that engenders embrace, rather than domination. The aesthetic truth of Schubert's music doesn't emerge through development, except, ironically perhaps, in the "successful" failure of his developments. Instead, it's articulated in a virtual instant, as in the shape and turn of a melody (and distinctly not in its working out). The Schubert melody is like the imagined perfection of landscape--as though, like "nature," it were always already complete. The C-minor Andante of the Piano Trio in Eb (op. 100, D. 929) is a case in point. The opening melodic statement in the cello and the folklike second theme in the violin, for the most part, can only be repeated, not improved upon, though Schubert tries--the melodic perfection of the opening statements, the first theme especially, becomes unambiguously evident only when the movement ends. We need everything that follows the initial statements to realize what we first heard: a melody (more than a theme) complete in itself, perfect, and on that account acoustically utopian--a semblance of happiness embedded in the sad honesty of C-minorÕs pensive melancholy.
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Sugden, Robert. "OPPORTUNITY AND PREFERENCE LEARNING: A REPLY TO CHRISTIAN SCHUBERT." Economics and Philosophy 31, no. 2 (May 7, 2015): 297–303. http://dx.doi.org/10.1017/s0266267115000140.

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Abstract:This paper replies to Christian Schubert's critical review of my work on opportunity as a normative criterion. Schubert argues that the criterion I have proposed would not command general assent because it does not recognize the legitimacy of individuals’ preferences for achieving self-development by constraining their future opportunities. I argue that my account of the ‘responsible agent’ is compatible with self-development, and that preferences for self-constraint are less common than Schubert suggests. For the purposes of normative economics, my opportunity criterion is much more generally applicable than Schubert's criterion of ‘opportunity to learn’.
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Perrey, Beate. "Exposed: Adorno and Schubert in 1928." 19th-Century Music 29, no. 1 (2005): 015–24. http://dx.doi.org/10.1525/ncm.2005.29.1.15.

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In this close reading of the first page of Adorno's "Schubert," one aim is to highlight the sheer intensity of Adorno's literary ambition, generating a visual poetics that contributes to the text's striking, and daunting, narrative complexity. With reference to the French poet Louis Aragon, Adorno situates Schubert within a distinctly surrealist landscape--a strategic move that is rhetorically as provocative as it is hermeneutically and methodologically risky. I briefly follow up some of this modernist imagery in Schubert's Winterreise, envisioned here as a nondevelopmental, glacial compositional canvas across which the wanderer wanders with a single idea in mind, forever repeated in subtle variations, affecting atmosphere (Stimmung) but not essence: in Winterreise, as Adorno's text suggests, the mind is lost in its own idea, accommodating the pre-human or post-human experience: life-in-death in the midst of an apocalyptic landscape. A second aim of this paper is to respond to Adorno's stylistic provocation: do we need poetry in music criticism, or indeed criticism as poetry? Do we need allegories of death and Utopian landscapes to talk about music? As will be argued, "Schubert" is a text whose author does not deny that his subject matter--Schubert--is, in fact, wholly fictional. Moreover, as Adorno goes on to describe Winterreise as a journey in search of an inner, and de-centered, self, and as we see this journey slowly unfold before our eyes, it becomes more than usually apparent that Adorno's true subject matter is the admission and expression of emotion. With great poetic acumen, his pen traces like a seismograph the rhythmic pulsations and shockwaves traversing Schubert's landscape. Adorno's essay begins with a fully imagined and powerfully articulated landscape, and as he goes on to render "Schubert's landscape" visible, his text takes on a geography that informs us about the structure of the very selves it describes: first Schubert's; then Adorno's; and finally, possibly, our own.
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Clark, Suzannah. "A Gift to Goethe: The Aesthetics of the Intermediate Dominant in Schubert’s Music and Early Nineteenth-Century Theoretical Thought." Nineteenth-Century Music Review 13, no. 1 (April 4, 2016): 39–70. http://dx.doi.org/10.1017/s1479409815000518.

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Schubert is famous for his remote modulations, especially his third relations. He therefore has a reputation for harbouring an aversion to the dominant, both in terms of its function as a harmonic preparation for new keys and as a structural pole to the tonic home key. I turn to the history of theory to reveal a more nuanced history of Schubert’s attitude towards the dominant. In a revision of ‘Geistes-Gruß’ (D. 142), a song he sent to Goethe in 1816, Schubert added a brief dominant-seventh chord to soften an abrupt modulation to a remote key. Such an insertion between remote keys was coined an ‘intermediate dominant’ by Schubert’s contemporary Anton Reicha and was understood to be a sufficient preparation for a new remote key. In four subsequent versions of ‘Geistes-Gruß’, Schubert strengthened, rather than weakened, this intermediate dominant – only to remove it altogether in the final published version. I scrutinize Schubert’s use of intermediate dominants that, together with other techniques such as the use of silence, act as a harmonic cushion between abrupt third relations in a range of early multi-sectional songs and in the medial caesura-fill in the Unfinished and Great Symphonies. I compare Schubert’s compositional strategies with the theories of modulation and harmonic juxtaposition by his contemporary music theorists Anton Reicha and Gottfried Weber, and I argue that they share a strikingly similar aesthetic of the power of the intermediate dominant.
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Dunsby, Jonathan. "Adorno's Image of Schubert's Wanderer Fantasy Multiplied by Ten." 19th-Century Music 29, no. 1 (2005): 042–48. http://dx.doi.org/10.1525/ncm.2005.29.1.42.

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AdornoÕs view of Schubert's Wanderer Fantasy is of flawed music. He regards the finale as yet another compositionally disastrous failure by Schubert to know how to round off a sonata or symphony. But he is clearly intrigued by the slow movement's acts of negation and alienation. This article investigates these two crises. First, what is actually--if one may dare ask such a thing--wrong with the finale? That it is all empty mock-fugue and sequence and passage-work? And thus it lacks truth-content? That Schubert is not really composing this finale; it is somehow composing him? Here I investigate analytically what Adorno's "temporal series of atemporal cells" means. Second, how does the slow movement move us from lightness into despair? Death for Schubert, Adorno tells us, is not about pain, but mourning, something Schubert takes us right inside--or to use Adorno's image, through a portal to the underworld (29). I believe that this landscape is also nested within the slow movement of the Wanderer Fantasy. If, as always with variations, the task of the analyst is not so clear here, the task of the (rightly) evidence-bound hermeneut probably is.
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Mogoşan, Iulia. "Schubert’s “Tenth”: an Interpretation Between Construction and Restitution." Artes. Journal of Musicology 25, no. 1 (April 1, 2022): 58–81. http://dx.doi.org/10.2478/ajm-2022-0005.

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Abstract In Franz Schubert’s creation the fragment takes on various forms of manifestation, ranging from the fragmentary reception of an already constituted piece to the fragmentary notation, in the form of a sketch, of a work that has not yet been completed. A special place belongs to the Tenth Symphony in D major, D 936A, by Schubert, left unfinished; we received it as a sketch, in a convolute, together with two other unfinished symphonies in the same key: D 615 and D 708A. The present study aims to expose three artistic interpretations of these sketches, materialized in completed musical works, with a distinct approach. The intention of the British composer and conductor Brian Newbould was to finish the symphony in the way that Schubert himself would have done, anchoring the musical ideas from the sketches in the composer’s style. Peter Gülke approached the sketches through the eyes of the researcher and the analyst, with the intention of obtaining their most accurate and authentic reproduction, emphasizing the materialization of some of Schubert’s possible intentions. Finally, Luciano Berio manages in Rendering to musically render the sketches per se, imagining a musical fresco where the concrete musical ideas, written by Schubert, are deliberately mixed with the provisional character of the manuscript.
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Dissertations / Theses on the topic "Schubert"

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Müller-Kelwing, Karin. "Franz Schubert." Böhlau Verlag, 2020. https://slub.qucosa.de/id/qucosa%3A75064.

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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.

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Mizerski, Maciej. "Singularities of Schubert varieties." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33427.

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Let G be a semi-simple linear algebraic group defined over an algebraically closed field and B a Borel subgroup. A Schubert variety is the closure of an orbit of the group B in the flag variety G/B. The present thesis studies the algebraic curves with a torus action in general and in the case of Schubert varieties. It also presents two proofs of Peterson's Theorem and describes the singular locus of Schubert varieties in terms of the Peterson map.
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Allio, Guy. "Mozart-Schubert-Beethoven : filiations." Bordeaux 2, 1989. http://www.theses.fr/1989BOR23069.

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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.

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Hengelbrock, Harald. "Symmetries in quantum Schubert calculus." [S.l.] : [s.n.], 2003. http://deposit.ddb.de/cgi-bin/dokserv?idn=967581125.

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Schubert, Christian [Verfasser]. "Vorteilsausgleichung und Steuern / Christian Schubert." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2018. http://d-nb.info/1173656782/34.

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Bressler, Paul. "Schubert calculus in generalized cohomology." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/67103.

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Bjurström, 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.

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During this project I have studied piano music by Franz Schubert (1797-1828) to thereafter use a couple of his harmonic structures as a foundation for composing music for piano trio. To write music that encourages improvisation and interaction between the band members has been a central focus while the broad goal of the project has been to develop myself as a musician and person. The project started in the fall of 2017, a senior recital was performed in Lilla Salen at KMH the 28th of February and was followed by time for reflection which can be found documented in my paper.             Something I wanted to try with this project was to create according to a partially predetermined method. I wanted Schubert’s music to have an impact on my compositions and from there I decided to transcribe harmonic structures on four of his works to rework these into new compositions. I hoped that this method would bring a forward motion to the work and in retrospect I believe it did. Composing with a few guidelines contributed with a sense of comfort to the process and made me stay on track through passages of low inspiration.             Reflecting on my work I feel that it became a good closure to my studies at KMH. A hybrid process showcasing different musical expressions, skills and sides to my personality with a work method that felt exciting.

Examenskonsert

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Brunson, Jason Cory. "Matrix Schubert varieties for the affine Grassmannian." Diss., Virginia Tech, 2014. http://hdl.handle.net/10919/25286.

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Schubert calculus has become an indispensable tool for enumerative geometry. It concerns the multiplication of Schubert classes in the cohomology of flag varieties, and is typically conducted using algebraic combinatorics by way of a polynomial ring presentation of the cohomology ring. The polynomials that represent the Schubert classes are called Schubert polynomials. An ongoing project in Schubert calculus has been to provide geometric foundations for the combinatorics. An example is the recovery by Knutson and Miller of the Schubert polynomials for finite flag varieties as the equivariant cohomology classes of matrix Schubert varieties. The present thesis is the start of a project to recover Schubert polynomials for the Borel-Moore homology of the (special linear) affine Grassmannian by an analogous process. This requires finitizing an affine Schubert variety to produce a matrix affine Schubert variety. This involves a choice of ``window'', so one must then identify a class representative that is independent of this choice. Examples lead us to conjecture that this representative is a k-Schur function. Concluding the discussion is a preliminary investigation into the combinatorics of Gröbner degenerations of matrix affine Schubert varieties, which should lead to a combinatorial proof of the conjecture.
Ph. D.
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Books on the topic "Schubert"

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Gruber, Gernot. Schubert. Schubert? Kassel, Germany: Bärenreiter-Verlag, 2022. http://dx.doi.org/10.1007/978-3-7618-7269-7.

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Reed, John. Schubert. London: Dent, 1987.

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John, Reed. Schubert. 2nd ed. New York: Oxford University Press, 1997.

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1939-2008, Krimets Konstantin, Moskovskii? simfonicheskii? orkestr, Cromwell Productions, and Films for the Humanities (Firm), eds. Schubert. Princeton, NJ: Films for the Humanities & Sciences, 2004.

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Rachlin, Ann. Schubert. London: Gollancz, 1994.

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Hilmar, Ernst. Schubert. Graz/Austria: Akademische Druck- u. Verlagsanstalt, 1989.

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Schneider, Marcel. Schubert. Paris: Seuil, 1994.

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Rachlin, Ann. Schubert. Hauppauge, NY: Barron's, 1994.

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John, Reed. Schubert. New York, NY: Schirmer Books, 1997.

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Susan, Hellard, and De Visscher Myriam trad, eds. Schubert. Paris: Éditions Gamma, 1995.

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Book chapters on the topic "Schubert"

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Gruber, Gernot. "Schubert in seiner Lebensgeschichte." In Schubert. Schubert?, 11–187. Kassel, Germany: Bärenreiter-Verlag, 2022. http://dx.doi.org/10.1007/978-3-7618-7269-7_2.

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Gruber, Gernot. "Schubert in seiner Musik." In Schubert. Schubert?, 188–265. Kassel, Germany: Bärenreiter-Verlag, 2022. http://dx.doi.org/10.1007/978-3-7618-7269-7_3.

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Gruber, Gernot. "Einleitung." In Schubert. Schubert?, 7–10. Kassel, Germany: Bärenreiter-Verlag, 2022. http://dx.doi.org/10.1007/978-3-7618-7269-7_1.

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McKay, Elizabeth Norman. "Friends, Publishers, The Gesellschaft Der Musikfreunde (1825-1826, Part II)." In Franz Schubert, 243–65. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165231.003.0009.

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Abstract As soon as Schubert arrived back in Vienna, he took up residence again in the Fruhwirthaus. He now began a series of long and convivial evenings socializing with his friends. Bauernfeld’s entry in his diary for early October sums it all up: Schubert is back. Inn and coffee-house gatherings with friends, often until two or three in the morning. Schober is the worst in all this. True, he has nothing to do, and actually does nothing, for which he is often reproached by Moritz.1 From this time onwards, Bauernfeld was rather frequently in Schubert’s company. The close friendship had begun in the previous February and had been interrupted after only three months by the composer’s tour with Vogl. For some weeks that summer, of the inner circle of Schubert’s friends only Bauernfeld and Schwind were left in Vienna. Both kept in contact with Schubert while he was away by letter. Bauernfeld was studying hard for his final law examinations during this period, and in August was delighted to learn that he had passed with flying colours.2
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"SCHUBERT." In Orchestral Masterpieces under the Microscope, 416–20. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv2p40rm3.63.

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Adorno, Theodor W. "Schubert." In L’esperienza della musica, 281–94. Quodlibet, 2020. http://dx.doi.org/10.2307/j.ctv1cdxg0k.25.

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"Schubert." In Goethe-Musik, 93–104. Wilhelm Fink Verlag, 2009. http://dx.doi.org/10.30965/9783846749128_007.

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"Schubert." In Piano-Playing Revisited, 117–30. Boydell & Brewer Ltd, 2021. http://dx.doi.org/10.2307/j.ctv24tr714.10.

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McKay, Elizabeth Norman. "Son of Immigrants (1797-1808)." In Franz Schubert, 1–13. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165231.003.0001.

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Abstract Franz Peter Schubert was born on Sunday, 31 January 1797 at 1.30 in the afternoon in the Himmelpfortgrund suburb of Vienna. He was the twelfth child born to the then 40-year-old Maria Elisabeth Katharina, known as Elisabeth (1756-1812), and Franz Theodor Florian Schubert (1763-1830), the local elementary schoolteacher. The boy was baptized on the following day by Father Johann Wanzka, parish priest of the nearby Lichtental church dedicated to ‘the fourteen friends in need’ (Zu den vierzehn Nothe/fern); Johann Karl Alois Schubert (1755-1804), his father’s elder brother, was the child’s godfather. In this time of high infant mortality, when children frequently died within a few days of birth, prompt baptisms were the order of the day. Of the Schuberts’ eleven children so far, although all had survived the first two weeks, seven had subsequently died. The survivors were Ignaz (almost 12), Josef (3), Ferdinand (2), and Karl (14 months). Of these, Josef was to die at the end of the following year, probably of smallpox.1
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Cooper, John Michael. "6 Faust’s Schubert: Schubert’s Faust." In Music in Goethe's <I>Faust</I>, 99–116. Boydell and Brewer, 2017. http://dx.doi.org/10.1515/9781787440227-011.

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Conference papers on the topic "Schubert"

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Khetan, Ashish, and Zohar Karnin. "schuBERT: Optimizing Elements of BERT." In Proceedings of the 58th Annual Meeting of the Association for Computational Linguistics. Stroudsburg, PA, USA: Association for Computational Linguistics, 2020. http://dx.doi.org/10.18653/v1/2020.acl-main.250.

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Gibbs, Niamh. "Schubert: The Strange and the Supernatural." In – The European Conference on Arts & Humanities 2022. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2188-1111.2022.1.

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Sottile, Frank, Ravi Vakil, and Jan Verschelde. "Solving schubert problems with Littlewood-Richardson homotopies." In the 2010 International Symposium. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1837934.1837971.

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van Dongen, Thomas, Gideon Maillette de Buy Wenniger, and Lambert Schomaker. "SChuBERT: Scholarly Document Chunks with BERT-encoding boost Citation Count Prediction." In Proceedings of the First Workshop on Scholarly Document Processing. Stroudsburg, PA, USA: Association for Computational Linguistics, 2020. http://dx.doi.org/10.18653/v1/2020.sdp-1.17.

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Ustymenko, Vasyl. "On computations with Double Schubert Automaton and stable maps of multivariate cryptography." In 16th Conference on Computer Science and Intelligence Systems. PTI, 2021. http://dx.doi.org/10.15439/2021f67.

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Takamatsu, Yusuke. "Synthese als Modus der Prozessualität bei Schubert: Sein spezifisches Wiederholungsprinzip im langsamen Satz." 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/10.25366/2020.73.

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In contrast to Beethoven’s music, Schubert’s music has been described through the concept of “a-finality” (Fischer 1983), employing the same elements repeatedly. In this sense, Schubert’s music seems incompatible with the kind of “processual” thinking which is typical for Beethoven’s music. This paper addresses such incompatibility through a comparison of the slow movements of Schubert’s piano sonata D 840 with those of Beethoven’s piano sonata No. 8 (op. 13) which is one of the possible precursors for D 840. The second movement of D 840 features an ABABA structure in which the themes of the first part A and the first part B become integrated into the second part A. This kind of integration differs fundamentally from the design of Beethoven’s op. 13, insofar as the two themes are combined while they also maintain their initial form. This mode of combination suggests Schubert’s own type of synthetic or “processual” thinking.
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Alvarez, Elizabeth. "What&amp;#39;s Worthwhile: Engaging the Work of William H. Schubert." In AERA 2023. USA: AERA, 2023. http://dx.doi.org/10.3102/ip.23.2010470.

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Podsiadlik, Edward. "What’s Worth Experiencing? Insights at the Intersection of William H. Schubert and Ocean Vuong." In 2024 AERA Annual Meeting. Washington DC: AERA, 2024. http://dx.doi.org/10.3102/2103492.

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Benfield, S., M. Gutierrez, and W. Zhou. "Failure Surface Identification and Structural Domain Segregation Using Drone-Based Structure from Motion Photogrammetry." In 57th U.S. Rock Mechanics/Geomechanics Symposium. ARMA, 2023. http://dx.doi.org/10.56952/arma-2023-0395.

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ABSTRACT An emerging topic in the geotechnical site characterization is the use of drones for rock mass characterization through Structure from Motion (SfM) photogrammetry. This study highlights a series of surveys utilizing a DJI Mavic II drone performed between July and August 2022 at an abandoned quarry in Clear Creek Canyon Park, located 0.25 miles west of Golden, Colorado. The purpose of these surveys was for failure surface identification of a historic wedge failure and structural domain segregation of the remaining rock slope. The study site is composed of a heavily jointed interlayered gneiss rock mass with distinct planar discontinuities. However, structural discontinuity orientations may only be homogenous across some sections of the rock mass. This research highlights an improved contour density-based methodology drawing upon existing methods of structural domain identification to locally divide the rock mass into domains of similar structural orientation. Stereographic comparisons between domains are considered utilizing an exponential Kamb density method. The results of this study reveal that both blasting effects and tectonic features likely induced the historic wedge failure. This study also reveals that the remaining rock mass may have profound spatial differences in structural orientations, requiring appropriate domaining for rock mass characterization. INTRODUCTION Most all rock masses have discontinuities in the form of joints, bedding planes, faults, lamination planes, foliation planes, and lithological contact surfaces whose quantity and orientations govern the rock mass strength (de Vallejo et al., 2011). Drone technology, in tandem with Structure from Motion (SfM) photogrammetry, is increasingly being used to characterize the discontinuities of slopes, particularly for steep and hard-to-access locations (Bar et al., 2021; Krajnovich et al., 2020; Papathanassiou et al., 2020; Salvini et al., 2017). Furthermore, data acquired from SfM photogrammetry can also be used in conjunction with previously established semi-automatic discontinuity identification methods (Buyer et al., 2020; Buyer & Schubert, 2016; Buyer & Schubert, 2017; García-Luna et al., 2019; Krajnovich et al., 2020). In addition, drone-based remote sensing can be safer than traditional methods (Battulwar et al., 2021; Deliry & Avdan, 2021).
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Vlahopol, Gabriela. "TYPOLOGIES OF THE SONATA FORM IN THE PIANO SONATAS OF FRANZ SCHUBERT - LANDMARKS OF CONTINUITY AND INNOVATING ELEMENTS." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s25.028.

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Reports on the topic "Schubert"

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Winch, Nicola M., Amanda Christine Madden, Matthew James Marcath, Eric Waggoner Nelius, and Douglas R. Mayo. PAIN Schubert Review: Experiment. Office of Scientific and Technical Information (OSTI), May 2020. http://dx.doi.org/10.2172/1618307.

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Schmidt, A. Schubert Review 2017 2-page summary of AmBe project. Office of Scientific and Technical Information (OSTI), April 2017. http://dx.doi.org/10.2172/1357325.

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Dennis, Jr, Li J. E., and Guangye. The Combined Schubert/Secant Finite-Difference Algorithm for Solving Sparse Nonlinear Systems of Equations. Fort Belvoir, VA: Defense Technical Information Center, November 1986. http://dx.doi.org/10.21236/ada453834.

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FICHE D’INFORMATION : Une approche des groupes armés communautaires en Afrique subsaharienne : Enseignements tirés et mesures de la réussite. RESOLVE Network, December 2020. http://dx.doi.org/10.37805/fs2020.8.cbags.fr.

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Cette fiche d’information présente un aperçu des conclusions de l’effort de cartographie de l’Initiative de recherche sur les groupes armés communautaires du RESOLVE Network qui étudie la dynamique des groupes armés communautaires (GAC) pour identifier des approches potentielles visant à les engager, les gérer et les transformer. Ce rapport de recherche dresse une carte de la façon dont différents intervenants ont abordé le défi des GAC et indique comment mesurer au mieux la réussite de ces interventions. Des discussions avec les parties prenantes et une revue critique de la littérature ont révélé la nécessité d’une compréhension empirique plus approfondie des forces et des lacunes des réponses actuelles aux GAC afin d’informer des pratiques et des politiques plus efficaces et mieux appropriées. Pour en savoir plus sur la méthodologie de recherche, les résultats détaillés et les études de cas illustratives, veuillez vous référer au rapport de recherche RESOLVE de Moritz Schuberth : Approaching Community-Based Armed Groups in Sub-Saharan Africa: Lessons Learned & Measures of Success (Une approche des groupes armés communautaires en Afrique subsaharienne: enseignements tirés et mesures de la réussite).
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