Tesis sobre el tema "Instrumental music (Schubert, Franz)"
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Biancolino, Ticiano [UNESP]. "A evocação de sonoridades instrumentais na escrita para piano no ciclo Winterreise de Franz Schubert". Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/95120.
Texto completoOs escritos estéticos dos autores do Frühromantik (Primeiro Romantismo), surgidos a partir das duas últimas décadas do século XVIII, constituíram a base do pensamento do Romantismo musical alemão. De vital importância dentro desta nova concepção estética foi o entendimento da música instrumental como a manifestação mais nobre das artes, algo que ia contra o preceito que vigorara até então, segundo o qual a música sem voz possuía pouco valor, por ser incapaz, apenas por meio de sons, de imitar o mundo físico e despertar sentimentos nos ouvintes. Paralelamente a esse processo, o piano - cujos primeiros modelos bem sucedidos surgiram entre 1698 e 1730 - ganhou maior repertório no último quarto do século XVIII e, ao mesmo tempo, passou a ser utilizado como substituto de formações instrumentais maiores, em reduções de sinfonias e óperas. Este trabalho trata da importância que os fenômenos de valorização da música instrumental, da formação da linguagem do piano e da utilização deste instrumento enquanto redutor da orquestra exerceram no aparecimento do Lied em princípios do século XIX, um gênero híbrido entre música e poesia e entre música vocal e música instrumental, que se contrapôs à tradição da canção estrófica setecentista. Mais especificamente, esta pesquisa investiga em qual medida a composição da parte do piano do ciclo de canções Winterreise (1827) de Franz Schubert foi realizada sobre a idéia de evocação de sonoridades de outros instrumentos, tomando por base similaridades de escrita entre determinadas passagens da obra de Schubert e aquelas retiradas de obras sinfônicas e de câmara, do próprio Schubert e de outros compositores que representaram grandes influências suas, especialmente Haydn, Mozart e Beethoven.
The aesthetic writings by Frühromantik (Early Romantic) authors, which appeared during the last decades of the eighteenth century, became the basis of German musical conception of Romanticism. Fundamentally important that new aesthetic idea was the undestanding of instrumental music as the noblest manifestation of arts, which was against the old precept that music without singing was worthless, as it was incapable of imitating the physical world and reviving the listener's sentiments. Simultaneously, the repertoire for piano - which early successful model appeared between 1698 and 1730 - was substantially increased during the last quarter of the eighteenth century and, at the same time, gradually started to be used as a substitute for larger instrumental groups, and reductions of symphonies and operas. The present work discusses how the phenomena of instrumental music valorization, piano idiom formation and its use as a substitute for an orchestra (piano reduction) influenced the advent of Lied at the beginning of the nineteenth century - a hybrid genre between music and poetry - and between vocal and instrumental music, in opposition to the eughteenth century strophic song tradition. More specifically, this research examines how much of the piano accompaniment of Fraz Schubert's song cycle Winterreise (1827) was based on the idea of the evocation of the sonorities of other instruments, using as evidence stylistic similarities between some of the passages from Schubert's works and those extracted from symphonic and chamber pieces - by both Schubert himself and other composers, notably his major influences: Haydn, Mozart and Beethoven.
Biancolino, Ticiano. "A evocação de sonoridades instrumentais na escrita para piano no ciclo Winterreise de Franz Schubert /". São Paulo : [s.n], 2008. http://hdl.handle.net/11449/95120.
Texto completoBanca: Lia Vera Thomás
Banca: Sidney Molina
Resumo: Os escritos estéticos dos autores do Frühromantik (Primeiro Romantismo), surgidos a partir das duas últimas décadas do século XVIII, constituíram a base do pensamento do Romantismo musical alemão. De vital importância dentro desta nova concepção estética foi o entendimento da música instrumental como a manifestação mais nobre das artes, algo que ia contra o preceito que vigorara até então, segundo o qual a música sem voz possuía pouco valor, por ser incapaz, apenas por meio de sons, de imitar o mundo físico e despertar sentimentos nos ouvintes. Paralelamente a esse processo, o piano - cujos primeiros modelos bem sucedidos surgiram entre 1698 e 1730 - ganhou maior repertório no último quarto do século XVIII e, ao mesmo tempo, passou a ser utilizado como substituto de formações instrumentais maiores, em reduções de sinfonias e óperas. Este trabalho trata da importância que os fenômenos de valorização da música instrumental, da formação da linguagem do piano e da utilização deste instrumento enquanto redutor da orquestra exerceram no aparecimento do Lied em princípios do século XIX, um gênero híbrido entre música e poesia e entre música vocal e música instrumental, que se contrapôs à tradição da canção estrófica setecentista. Mais especificamente, esta pesquisa investiga em qual medida a composição da parte do piano do ciclo de canções Winterreise (1827) de Franz Schubert foi realizada sobre a idéia de evocação de sonoridades de outros instrumentos, tomando por base similaridades de escrita entre determinadas passagens da obra de Schubert e aquelas retiradas de obras sinfônicas e de câmara, do próprio Schubert e de outros compositores que representaram grandes influências suas, especialmente Haydn, Mozart e Beethoven.
Abstract: The aesthetic writings by Frühromantik (Early Romantic) authors, which appeared during the last decades of the eighteenth century, became the basis of German musical conception of Romanticism. Fundamentally important that new aesthetic idea was the undestanding of instrumental music as the noblest manifestation of arts, which was against the old precept that music without singing was worthless, as it was incapable of imitating the physical world and reviving the listener's sentiments. Simultaneously, the repertoire for piano - which early successful model appeared between 1698 and 1730 - was substantially increased during the last quarter of the eighteenth century and, at the same time, gradually started to be used as a substitute for larger instrumental groups, and reductions of symphonies and operas. The present work discusses how the phenomena of instrumental music valorization, piano idiom formation and its use as a substitute for an orchestra (piano reduction) influenced the advent of Lied at the beginning of the nineteenth century - a hybrid genre between music and poetry - and between vocal and instrumental music, in opposition to the eughteenth century strophic song tradition. More specifically, this research examines how much of the piano accompaniment of Fraz Schubert's song cycle Winterreise (1827) was based on the idea of the evocation of the sonorities of other instruments, using as evidence stylistic similarities between some of the passages from Schubert's works and those extracted from symphonic and chamber pieces - by both Schubert himself and other composers, notably his major influences: Haydn, Mozart and Beethoven.
Mestre
Hyland, Anne Margaret. "Tautology or teleology? : towards an understanding of repetition in Franz Schubert's instrumental chamber music". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609771.
Texto completoBjurström, 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.
Texto completoExamenskonsert
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.
Texto completoMadsen, 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.
Texto completoTypescript. Includes vita and abstract. Includes bibliographical references (leaves 477-487). Also available for download via the World Wide Web; free to University of Oregon users.
Meggison, Natalie Rebecca. "Situating Schubert's Ossian settings, music, literature, and culture (Franz Schubert, Austria)". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ60383.pdf.
Texto completoHAM, INA. "FRANZ SCHUBERT'S IMPROMPTUS D.899 AND D.935: AN HISTORICAL AND STYLISTIC STUDY". University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1114981145.
Texto completoKim, SeonJu. "Challenges faced by modern violists when preparing the F. Schubert Arpeggione sonata for performance /". Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11422.
Texto completoEnhamre, Sebastian. "Franz Schubert: Sonat i a-moll, D 845 - En tolkning". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3459.
Texto completoKim, 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/.
Texto completoDempsey, Mariclare Elizabeth. "Hearing Voices: The Narrative Function of the Piano Voice in Schubert's Winterreise". Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1579897972318386.
Texto completoChang, Liang-Fang. "The orchestral elements in Franz Schubert's Wanderer fantasy-with implications for piano performance". Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2680.
Texto completoRakitzis, Vasileios. "Alfred Cortot's response to the music for solo piano of Franz Schubert : a study in performance practice". Thesis, City, University of London, 2015. http://openaccess.city.ac.uk/16965/.
Texto completoTam, Wing-Kei Ruth. "Accent markings in Schubert's piano sonatas /". Hong Kong : University of Hong Kong, 1992. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14292440.
Texto completoMarjamäki, Veikko. "Franz Schubert's "Arpeggione" sonata : Style, background and role in romantic viola repertoire". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3978.
Texto completoLIN, YUEH-RENG. "THE IMPACT OF THE LIED ON SELECTED PIANO WORKS OF FRANZ SCHUBERT, ROBERT SHUMANN, AND JOHANNES BRAHMS". University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1101539626.
Texto completoCloutier, 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/.
Texto completoHarris, Kristine Lynn. "A collection of cadenzas for the trumpet concertos of Franz Joseph Haydn and Johann Nepomuk Hummel". Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137621.
Texto completoSchool of Music
Roggero, Amanda Marie. "Retracing the Journey of Franz Schubert’s Wanderer: Musical Fingerprints in the B-flat Sonata, D. 960". University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085535681.
Texto completoHascher, Xavier. "Aspects de l'évolution de la forme sonate au début du dix-neuvième siècle : à travers son traitement dans l'oeuvre instrumental de Franz Schubert". Paris 1, 1994. http://www.theses.fr/1994PA010654.
Texto completoThe first decades of the nineteenth century saw a period of transition between two successive periods of harmonic consciousness in german music, the age of the fifth - or classicism - and that of the third - or romanticism. Schubert's output represents the first attempt at organizing musical form through the use of third-progressions at all structural levels, while preserving the fundamental fifthrelationship which is essential to the sonata. This thesis both brings to the fore the emergence of new formal models and proposes a classification of development sections according to their tonal structure. It also provides an exhaustive analysis of the harmonic dimension of schubert's instrumental works, laying the foundations for a further study of its necessary complement, the architectural dimension of form
Knoll, Moises S. y 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.
Texto completoMolin, Ninni. "Vinterresa : en undersökning av tolkningsmöjligheter i Schuberts sångcykel Winterreise". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2570.
Texto completo1. Gute Nacht. 2. Gefrorne Tränen. 3. Erstarrung. 4. Auf dem flusse. 5. Frühlingstraum. 6. Die Nebenssonen. 7. Der Leiermann. Pianist Matilda Lindholm
Navia, Gabriel Henrique Bianco. "The Medial Caesura in Schubert's Sonata Forms: Formal and Rhetorical Complications". Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/613235.
Texto completoFourie, Magdalena Johanna. "'n Ondersoek na sangpedagogiek met besondere verwysing na die Schubert-liedere as onderrigliteratuur". Thesis, Stellenbosch : Stellenbosch University, 1986. http://hdl.handle.net/10019.1/65285.
Texto completoINLEIDING: By die instudeer van 'n aantal Schubert-liedere het die skryfster onder die indruk gekom van nie alleen die skoonheid van die poëtiese en musikale inhoud nie, maar veral ook die pedagogiese waarde daarvan. 'n Behoefte om die potensiaal van die Schubert-liedere as onderrigmateriaal te ondersoek, het ontstaan.
Sherman, Philip. "Where words leave off, music begins : A comparison of how Henry Purcell and Franz Schubert convey text through their music in the compositions Music for a while and Erlkönig". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2342.
Texto completoCho, Sujung. "Performance Challenges and Their Possible Solutions: Franz Schubert’s Piano Sonata in B-flat Major, D. 960". University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1312294162.
Texto completoLively, Judy Sharon. "Extra-Musical Associations in Selected Pieces From Années de Pélerinage, Troisième Année, by Franz Liszt: A Lecture Recital, Together with Three Recitals of Selected Works of D. Scarlatti, F.J. Haydn, L.v. Beethoven, F. Schubert, F. Chopin, J. Brahms, R. Schumann, and Others". Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332359/.
Texto completoTackett, Joshua Lucas. "A master’s vocal recital analyzing the historical and stylistic aspects of works by George Frideric Handel, Wolfgang Amadeus Mozart, Franz Schubert, Vincenzo Bellini, Giuseppe Verdi, Gaetano Donizetti, Reynaldo Hahn, and Michael Head". Kansas State University, 2014. http://hdl.handle.net/2097/18335.
Texto completoDepartment of Music, Theatre, and Dance
Reginald L. Pittman
The songs presented in this report are works I performed in my Master’s Recital on March 30, 2014. This report will take an in-depth analysis at the selected composers’ life and styles of writing and the works they created. The scores studied in this report include: “Thus saith the Lord: But who may abide” from George Frideric Handel’s Messiah, “Soave sia il vento” from Wolfgang Amadeus Mozart’s Cosí fan Tutte, “Liebesbotschaft,” “Ihr Bild,” and “Das Fischermädchen” from Franz Schubert’s Schwanengesang, Vincenzo Bellini’s “Vaga luna che inargenti,” Giuseppe Verdi’s “Il Poveretto,” Gaetano Donizetti’s “Che vuoi di più,” Reynaldo Hahn’s “Á Chloris,” “Si mes vers avaient des ailes,” and “L’Heure Exquise” from Chanson grises, and “Ships of Arcady,” “Beloved,” “A Blackbird Singing,” and “Nocturne” from Michael Head’s Over the Rim of the Moon.
Shantz, Bren. "Organic relationships motivic parallelisms between the first and second themes of sonata form /". Diss., Connect to online resource - MSU authorized users, 2008.
Buscar texto completoLuczak, Jessica. "A survey of tragic love in vocal repertoire for the lyric soprano". Kansas State University, 2013. http://hdl.handle.net/2097/15676.
Texto completoDepartment of Music
Patricia Thompson
This report contains biographical, historical, and analytical commentary on the following composers and their pieces for soprano voice: Henry Purcell and The Blessed Virgin's Expostulation; Franz Schubert and Gesänge aus Wilhelm Meister, Op. 62, D. 877; Jacques Offenbach and Les oiseaux dans la charmille, from Les Contes d'Hoffmann; Libby Larsen and Try Me, Good King: Last Words of the Wives of Henry VIII; Charles Gounod and Ah! Je veux vivre, from Roméo et Juliette. These selections, unified by the theme of tragedy in various forms of love, were presented in a graduate recital in partial fulfillment of the requirements for the Master of Music in Vocal Performance and Pedagogy degree.
Court, Sarah Kathleen Mary. "Death and Transformation in Romantic Song Cycles: Journeys in Interpretation". Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365450.
Texto completoThesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
Full Text
Chen, Tzu-yun Baltzer Rebecca A. Guerra Lita. "A century of Schubert Lieder transcriptions for piano". 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3110722.
Texto completoSiciliano, Michael. "Neo-Riemannian transformations and the harmony of Franz Schubert /". 2002. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3070209.
Texto completoMattingly, Stephen Patrick Buchler Michael Howard. "Franz Schubert's chamber music with guitar A study of the guitar's role in Biedermeier Vienna /". Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-04052007-054453/.
Texto completoAdvisor: Michael Buchler, Florida State University, College of Music. Title and description from dissertation home page (viewed 2007). Document formatted into pages; contains 133 pages. Includes biographical sketch. Includes bibliographical references.
Chen, Tzu-yun. "A century of Schubert Lieder transcriptions for piano". 2003. http://hdl.handle.net/2152/11966.
Texto completoGonzales, Kayla. "Romance in the music of Obradors, Schubert, Gordon and Scarlatti". 2018. http://hdl.handle.net/2097/38925.
Texto completoDepartment of Music, Theatre, and Dance
Major Professor Not Listed
This report is extended program notes that focus on romantic selections from four composers, prepared for a graduate vocal recital, completed in partial fulfillment of the requirement for the Master of Music degree. The recital was held April 25, 2017 at seven-thirty in the evening at Kirmser Hall on the campus of Kansas State University. The selections for this recital were chosen for their portrayal of the theme romance. The four composers selected for this report are Fernando Obradors, Franz Schubert, Ricky Ian Gordon and Alessandro Scarlatti. Each chapter will include biographical information on each composer, a textual analysis, as well as stylistic and technical considerations one must consider for the songs researched in this document. Romance is a topic that has often inspired composers and writers. This paper focuses on “romance” as a topic, which has been the focus of music for centuries. In vocal literature, a theme of romance can create an immediate connection to the listener as it is a topic that all genders can relate to.
Shaw, Michael. "Schubert's Mythological Mayrhofer-Lieder: Historical, Philosophical, and Psychological Contexts". Thesis, 2014. https://doi.org/10.7916/D8M61HDN.
Texto completoChun-Ming, Huang y 黃俊銘. "Poem and Music in the German Lied: A Study of Die schoene Muellerin of Franz Schubert". Thesis, 2002. http://ndltd.ncl.edu.tw/handle/60629863255640232772.
Texto completoWeed, Janelle. "Investigation and Analysis in Cross-Media Reception: Schubert, Goethe, and Others". Master's thesis, 2009. http://hdl.handle.net/10048/498.
Texto completoTitle from pdf file main screen (viewed on August 10, 2009). A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Comparative Literature. Includes bibliographical references.
Piché, Marie-Ève. "Quelques procédés d'organisation du discours harmonique chez Schubert". Thèse, 2015. http://hdl.handle.net/1866/19001.
Texto completoThis master’s thesis provides analysis tools to highlight the internal consistency of Schubert’s harmonic language, especially in his late works. The analysis of a corpus including mainly his chamber music, his piano sonatas, and a selection of lieder, reveals some constants in the composer’s harmonic organization. Confronted with both the richness of Schubert’s tonal writing and the limits of a master’s thesis, I have chosen two characteristic features of his harmonic style for study : his use of major-minor harmonies and his modulatory practice. First, the typology of the major-minor usages developed in this thesis allows for the specification of the nature of different phenomena related to them, while emphasizing their structural importance in the form. Thus, three types of application of the interchangeability of major and minor modes are identified: ornamentation within a chord (colouration), borrowing of chords from the opposite mode inside a harmonic structural unit (modal mixture), and modal shift between two successive harmonic structural units (mode opposition). Furthermore, the modulatory mechanisms explained in this thesis including the use of major-minor at pivot chords, chromatically altered VII chords, as well as the use of what Serge Gut identifies as « dominantes contrariées » cause an increase in tonal tension by linking remote tonalities and act as formal markers in the works of Schubert. The mechanisms presented in this thesis advance our understanding of the harmonic logic that underlies Schubert’s works by drawing attention to the interaction between microstructure and macrostructure.
Basu, Kyron. "Phonetic journey: sound in singable translations". Thesis, 2020. http://hdl.handle.net/1828/12074.
Texto completoGraduate
Valentine, David. "Le voyage d’hiver de Keith Kouna : à l’écoute de Winterreise de Schubert. De la réécriture au studio d’enregistrement". Thesis, 2020. http://hdl.handle.net/1866/24196.
Texto completoThis master’s thesis is a case study of Keith Kouna’s music recording Le voyage d’hiver (2013). Produced by René Lussier, this album is a literary and musical transposition based on Franz Schubert’s Winterreise (1828). Although the text was rewritten in French and the music underwent significant transformations, the melodic and harmonic foundations of Le voyage d’hiver create a recognition effect that constantly hearken Kouna’s work back to Schubert. Instead of viewing both works as inseparable, this study will examine the distance that separates them. One may ask if Le voyage d’hiver possesses the distinctive traits to be considered an original, free-standing musical work. Given that the rewriting of the text is rooted in music listening, this research posits that Le voyage d’hiver takes form as the result of listening to Schubert’s Winterreise. Based on the relationship that unfolds between the text and music, the research is then a matter of following this listening through the mediations of the resulting music that was created and recorded in the studio. Establishing this path will make it possible to assess the extent of the transformations that led to Le voyage d’hiver in order to put into perspective the distance that separates and distinguishes it from Schubert’s work.
Manitt, Russ. "Winterreise et Die sieben Todsünden : un regard sur l’aliénation du sujet moderne". Thèse, 2013. http://hdl.handle.net/1866/9724.
Texto completoCause principale du malaise moderne, l’aliénation désigne l’état de l’être humain qui est pris entre ce qu’il est et ce qu’il devrait être. Ma thèse démontre que la représentation de cette déficience ontologique dans l’art vocal connaît des modalités subjective et objective. Séduit par une oeuvre de la première modalité, l’auditeur en subit l’ensorcellement et sympathise avec le protagoniste aliéné. Se heurtant à la seconde modalité, le spectateur se trouve aux prises avec une oeuvre qui vise à empêcher tout effet d’identification émotif avec le personnage principal. Tout en prenant position par rapport aux traditions herméneutique et critique, je cherche à approfondir la question de l’aliénation dans la musique de la modernité germanique (comprise dans les limites des XIXe et XXe siècles), et ce, sous ses différentes formes. Le Winterreise de Franz Schubert (et Wilhelm Müller) et le ballet chanté, Die sieben Todsünden, de Kurt Weill (et Bertolt Brecht) exemplifient les différentes modalités de l’aliénation, subjective et objective, respectivement. Ma thèse aborde le concept d’aliénation à partir de différentes perpectives : le premier chapitre en retrace le développement dans l’histoire des idées (philosophie, théologie, esthétique, sciences sociales, psychanalyse); les chapitres 2, 3 et 5 étudient l’expression de ses différentes modalités en examinant la genèse et la réception du Winterreise et de Die sieben Todsünden; les chapitres 4 et 6 offrent des analyses approfondies de chaque oeuvre en rapport avec ces modalités. Dans le Winterreise, la présence du double (le joueur de vielle), la narration à la première personne et l’anonymat du narrateur, par ailleurs expressif, se conjuguent au caractère « phénoménologique » de la musique, au sens d’une mimesis de l’espace intérieur, afin d’attirer la sympathie du spectateur. Plusieurs éléments musicaux contribuent à cette impression : figures rhétoriques (tropes de distance, figures de marche, Seufzerfigur, etc.), usage significatif des modes majeur et mineur, subversion sémantique différents genres (valse, Volkslied, opéra, etc.), qualité subjective des ambivalences métriques et formelles, aspect médiatisé des sons qu’entend ou que s’imagine le voyageur, etc. L’effet d’aliénation (Verfremdungseffekt) provoqué par Die sieben Todsünden oeuvre dans un tout autre sens : il amène l’auditeur à adopter une attitude critique face à l’aliénation de la protagoniste « Anna ». Le ton narratif, la perversion des lieux communs (textuels et musicaux), l’aridité de la mélodie, l’ironie stylistique (usage sarcastique du style barbershop, du Choral protestant, du shimmy, du moto perpetuo, de la valse, etc.) et la tonalité élargie participent au ton narquois de l’oeuvre, incitant délibérément à une prise de distance critique.
Alienation, the principal source of the modern malaise, denotes the state of a human being who is caught between what he is and what he ought to be. My dissertation will demonstrate that the depiction of this ontological deficiency in vocal music exists under different modalities, subjective and objective. Beguiled by a work dealing with the topic of alienation within the subjective mode, the listener is made vulnerable to its charm and sympathizes with its alienated protagonist. Colliding with a work of the objective type, the spectator discovers that he is confronted by a piece that seeks to prevent any emotional identification with the characters. Starting from, but not limited to, the perspective of traditional hermeneutics and criticism, my research aims at a deeper understanding of alienation in music during the modern Germanic period (within the limits of the 19th and 20th centuries). Franz Schubert’s (and Wilhelm Müller’s) Winterreise and Kurt Weill’s (and Bertolt Brecht’s) ballet-chanté Die sieben Todsünden exemplify the different modalities of alienation, subjective and objective respectively. I approach the concept of alienation from various angles : the first chapter retraces its development within a history of ideas (philosophy, theology, aesthetics, social sciences, psychoanalysis); chapters 2, 3, and 5 begin to study its subjective and objective articulations by investigating the genesis and reception of Winterreise and Die sieben Todsünden; analytical chapters 4 and 6 offer and an in-depth investigation into these works in relation to their particular modality of alienation. In Winterreise, many elements combine to confer a phenomenological quality to the music (understood as the mimesis of an interior, subjective space) in the hopes that it will stir the audience’s sympathy : note the presence of a double (the hurdy-gurdy player), first-person narration by an anonymous, yet expressive, speaker, and so on. Many musical features support the effect : different topoi (tropes of distance, marching and sighing figures, etc.), the symbolic use of major and minor modes, the subversion of meanings attributed to different genres (waltz, Volkslied, opera, etc.), the subjective quality of metrical and formal dissonances, and the mediated aspect of sounds that the wanderer hears or imagines. The alienation-effect (Verfremdungseffekt) caused by Die sieben Todsünden is altogether contrastive. It encourages its listener to take a critical attitude toward the alienation of Anna, the protagonist. The narrative tone, the distortion of commonplaces (literary and musical), the arid melodies, the ironic style (sarcastic use of barbershop music, Protestant chorals, the shimmy, moto perpetuo, the waltz, etc.), and tonal ambiguity contribute to the sardonic tone of a work that urges critical distance.
Als weitgehend anerkannte Quelle des modernen Unbehagens beschreibt die Entfremdung den Zustand menschlichen Daseins in der Schwebe zwischen dem, was er ist, und dem, was er sein sollte. Meine Dissertation zeigt auf, dass die gesangliche Darstellung eines solchen Zustands ontologischer Defizienz sowohl eine subjektive als auch eine objektive Modalität haben kann. Sobald der Zuschauer der ersten, nämlich der subjektiven, Modalität begegnet, wird er durch das Werk verzaubert und sympathisiert mit dem entfremdeten Protagonisten. Sieht er sich wiederum mit der objektiven Modalität konfrontiert, ist es das Werk selbst, welches jeglichen Effekt einer gefühlsmäßigen Identifizierung mit der Hauptfigur verhindert. Bezug nehmend auf die hermeneutischen und kritischen Traditionen strebe ich nach einer Vertiefung des Entfremdungsbegriffs in der Musik der germanischen Moderne (innerhalb Grenzen des 19. und des 20. Jahrhunderts) in ihren verschiedenen Formen. Franz Schuberts (und Wilhelm Müllers„Winterreise“ sowie das gesungene Ballet „Die sieben Todsünden“ von Kurt Weill (und Bertolt Brecht) veranschaulichen jeweils die subjektive und die objecktive Modalität der Entfremdung. Die vorliegende Dissertation beleuchtet das Konzept der Entfremdung von verschiedenen Seiten: Das erste Kapitel vergegenwärtigt die Entwicklung der Ideengeschichte (Philosophie, Theologie, Ästhetik, Gesellschaftswissenschaften, Psychoanalyse); die Kapitel 2, 3 und 5 befassen sich mit dem Ausdruck ihrer verschiedenen Modalitäten in der Entstehung sowie der Rezeption der Winterreise und der Sieben Todsünden; die Kapitel 4 und 6 bieten vertiefende Analysen jedes einzelnen Werkes im Zusammenhang mit diesen Modalitäten. In der „Winterreise“ vereinigen sich die Präsenz des Doppelgängers (der Leiermann), die Ich Erzählung und die Anonymität des ansonsten sehr ausdrucksvollen Erzählers mit dem „phänomenologischen“ Charakter der Musik, im Sinne einer Mimesis des inneren Raums, um die Sympathie des Zuschauers anzusprechen. Mehrere musikalische Elemente tragen zu diesem Eindruck bei: Rhetorische Figuren (z.B. Distanz- und Wandermotive, Seufzerfiguren usw.), der signifikante Gebrauch von Dur und Moll, die semantische Subversion der verschiedenen Genres (Walzer, Volkslied, Oper, usw.), die subjektive Beschaffenheit metrischer und formaler Ambivalenzen, der mediatisierte Aspekt der Töne, die der Reisende hört oder sich vorstellt, usw. Der Verfremdungseffekt, der durch „Die sieben Todsünden“ hervorgerufen wird, ist ein gänzlich anderer: Er drängt den Zuhörer dazu, eine kritische Stellung in Hinblick auf die Entfremdung der Protagonistin „Anna“ zu beziehen. Der narrative Ton, die Pervertierung der textuellen und musikalischen Gemeinplätze, die stilistische Ironie (der sarkastische Gebrauch des barbershop-Stils, des protestantischen Chors, des shimmy, des moto perpetuo, des Walzers, usw.) und die allgemeine tonale sowie stilistische Zweideutigkeit tragen zum spöttischen Ton des Werks bei und führen so zur gewünschten kritischen Distanz.