Littérature scientifique sur le sujet « Instrumental music (Schubert, Franz) »
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Articles de revues sur le sujet "Instrumental music (Schubert, Franz)"
Perry, Jeffrey. « The Wanderer's Many Returns : Schubert's Variations Reconsidered ». Journal of Musicology 19, no 2 (2002) : 374–416. http://dx.doi.org/10.1525/jm.2002.19.2.374.
Texte intégralHettrick, William E. « Johann Herbeck’s Edition of Choral Works by Franz Schubert : History and Analysis ». Nineteenth-Century Music Review 16, no 3 (5 septembre 2018) : 349–82. http://dx.doi.org/10.1017/s1479409818000010.
Texte intégralSobaskie, James William. « The ‘Problem’ of Schubert's String Quintet ». Nineteenth-Century Music Review 2, no 1 (juin 2005) : 57–92. http://dx.doi.org/10.1017/s1479409800001567.
Texte intégralLee, M. Owen. « Fierrabras. Franz Schubert ». Opera Quarterly 8, no 2 (1991) : 179–81. http://dx.doi.org/10.1093/oq/8.2.179.
Texte intégralJellinek, George. « Fierrabras. Franz Schubert ». Opera Quarterly 8, no 4 (1991) : 137–38. http://dx.doi.org/10.1093/oq/8.4.137.
Texte intégralRast, N. « Franz Schubert : Music and Belief ». Music and Letters 87, no 3 (1 août 2006) : 439–41. http://dx.doi.org/10.1093/ml/gci241.
Texte intégralKramer, Richard. « Posthumous Schubert : Drei grosse Sonaten fur das Pianoforte . Franz Schubert. ; Der Graf von Gleichen . Franz Schubert, Ernst Hilmar. » 19th-Century Music 14, no 2 (octobre 1990) : 197–216. http://dx.doi.org/10.1525/ncm.1990.14.2.02a00060.
Texte intégralSolomon, Maynard. « Schubert : Family Matters ». 19th-Century Music 28, no 1 (2004) : 3–14. http://dx.doi.org/10.1525/ncm.2004.28.1.3.
Texte intégralRast, N. « Franz Schubert : Das fragmentarische Werk ». Music and Letters 87, no 3 (1 août 2006) : 437–39. http://dx.doi.org/10.1093/ml/gci239.
Texte intégralRastl, Peter. « Schubert-Liedertexte ». Die Musikforschung 71, no 2 (22 septembre 2021) : 166–73. http://dx.doi.org/10.52412/mf.2018.h2.305.
Texte intégralThèses sur le sujet "Instrumental music (Schubert, Franz)"
Biancolino, Ticiano [UNESP]. « A evocação de sonoridades instrumentais na escrita para piano no ciclo Winterreise de Franz Schubert ». Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/95120.
Texte intégralOs 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.
Texte intégralBanca: 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.
Texte intégralBjurström, 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.
Texte intégralExamenskonsert
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.
Texte intégralMadsen, 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.
Texte intégralTypescript. 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.
Texte intégralHAM, 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.
Texte intégralKim, 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.
Texte intégralEnhamre, 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.
Texte intégralLivres sur le sujet "Instrumental music (Schubert, Franz)"
Michael, Raab. Franz Schubert : Instrumentale Bearbeitungen eigener Lieder. München : W. Fink, 1997.
Trouver le texte intégral1952-, Jando ? Jeno?, Verhey Emmy, Dechenne Danielle, Fischer Adam 1949-, Kovacs Janos 1951-, Budapesti Vonosok, Colorado Quartet, Magyar Allami Operahaz Zenekar et Filharmoniai Tarsasag (Budapest Hungary), dir. Masters of classical music : Vol. 9 : Franz Schubert. Los Angeles, CA : LaserLight, 1988.
Trouver le texte intégralM, Reul Barbara, et Bodley Lorraine Byrne 1968-, dir. Unknown Schubert. Aldershot, Hants, England : Ashgate, 2008.
Trouver le texte intégralBrinkmann, Reinhold. Franz Schubert, Lindenbäume und deutsch-nationale Identität : Interpretation eines Liedes. Wien : Picus, 2004.
Trouver le texte intégral1936-, Newbould Brian, dir. Schubert studies. Aldershot, Hants, England : Ashgate, 1998.
Trouver le texte intégralKlaus, Stahmer, dir. Franz Schubert und Gustav Mahler in der Musik der Gegenwart. Mainz : Schott, 1997.
Trouver le texte intégral1935-, Hackenbracht Elisabeth, et Internationale Hugo-Wolf-Akademie für Gesang, Dichtung, Liedkunst e.V. Stuttgart., dir. 1797-1997 : Der Flug der Zeit : Franz Schubert : ein Lesebuch. Tutzing : H. Schneider, 1997.
Trouver le texte intégralauthor, Uhde Jürgen, dir. Schubert : Späte Klaviermusik : Spuren ihrer inneren Geschichte. Kassel : Bärenreiter, 2014.
Trouver le texte intégralFranz Schubert and the Music of Modernity (Competition) (6th 2006 Universität für Musik und Darstellende Kunst Graz). Franz Schubert und die Musik der Moderne : Dokumentation : 6. Internationaler Wettbewerb, 15.-24.2.2006 = Franz Schubert and the music of modern times : documentation : 6th international competition, 15.-24.02.2006. Graz : Universität für Musik und darstellende Kunst, 2007.
Trouver le texte intégral1936-, Newbould Brian, dir. Schubert the progressive : History, performance practice, analysis. Aldershot, Hants, England : Ashgate, 2003.
Trouver le texte intégralChapitres de livres sur le sujet "Instrumental music (Schubert, Franz)"
Black, Brian. « Lyricism and the Dramatic Unity of Schubert’s Instrumental Music : ». Dans Drama in the Music of Franz Schubert, 233–56. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctv6jm9rg.18.
Texte intégralDavies, Joe. « Stylistic Disjuncture as a Source of Drama in Schubert's Late Instrumental Works ». Dans Drama in the Music of Franz Schubert, 303–30. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444393.015.
Texte intégralDavies, Joe. « Stylistic Disjuncture as a Source of Drama in Schubert’s Late Instrumental Works ». Dans Drama in the Music of Franz Schubert, 303–30. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctv6jm9rg.21.
Texte intégralDavies, Joe. « 13 Stylistic Disjuncture as a Source of Drama in Schubert’s Late Instrumental Works ». Dans Drama in the Music of Franz Schubert, 303–30. Boydell and Brewer, 2019. http://dx.doi.org/10.1515/9781787444393-019.
Texte intégralBlack, Brian. « Lyricism and the Dramatic Unity of Schubert's Instrumental Music : The Impromptu in C Minor, D. 899/1 ». Dans Drama in the Music of Franz Schubert, 233–56. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444393.012.
Texte intégralBlack, Brian. « 10 Lyricism and the Dramatic Unity of Schubert’s Instrumental Music : The Impromptu in C Minor, D. 899/1 ». Dans Drama in the Music of Franz Schubert, 233–56. Boydell and Brewer, 2019. http://dx.doi.org/10.1515/9781787444393-016.
Texte intégral« FRANZ SCHUBERT ». Dans The Classical Music Lover's Companion to Orchestral Music, 661–77. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.54.
Texte intégral« Franz Schubert (1797–1828) ». Dans The Classical Music Lover's Companion to Orchestral Music, 661–77. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-052.
Texte intégralMcKay, Elizabeth Norman. « La Dolce Vita (1820-1822) ». Dans Franz Schubert, 99–132. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165231.003.0005.
Texte intégralMcKay, Elizabeth Norman. « Success and Sickness (1828) ». Dans Franz Schubert, 291–318. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198165231.003.0011.
Texte intégralActes de conférences sur le sujet "Instrumental music (Schubert, Franz)"
Deisinger, Marko. « Fortschrittliche Technologie im Dienste eines Antimodernisten. Heinrich Schenker und der österreichische Rundfunk ». Dans Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.52.
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