Download Free Drama In The Music Of Franz Schubert Book in PDF and EPUB Free Download. You can read online Drama In The Music Of Franz Schubert and write the review.

This book challenges the assumption that Franz Schubert (1797-1828), best known for the lyricism of his songs, symphonies and chamber music, lacked comparable talent for drama. It is commonly assumed that Franz Schubert (1797-1828), best known for the lyricism of his songs, symphonies, and chamber music, lacked comparable talent for drama. Challenging this view, Drama in the Music of Franz Schubert provides a timely re-evaluation of Schubert's operatic works, while demonstrating previously unsuspected locations of dramatic innovation in his vocal and instrumental music. The volume draws on a range of critical approaches and techniques, including semiotics, topic theory, literary criticism, narratology, and Schenkerian analysis, to situate Schubertian drama within its musical and cultural-historical context. In so doing, the study broadens the boundaries of what might be considered 'dramatic' within the composer's music and offers new perspectives for its analysis and interpretation. Drama in the Music of Franz Schubert will be of interest to musicologists, music theorists, composers, and performers, as well as scholars working in cultural studies, theatre, and aesthetics. JOE DAVIES is College Lecturer in Music at Lady Margaret Hall, University of Oxford. JAMES WILLIAM SOBASKIE is Associate Professor of Music at Mississippi State University. Contributors: Brian Black, Lorraine Byrne Bodley, Joe Davies, Xavier Hascher, Marjorie Hirsch, Anne Hyland, Christine Martin, Clive McClelland, James William Sobaskie, Lauri Suurpää, Laura Tunbridge, Susan Wollenberg, Susan Youens
Schubert's late music has proved pivotal for the development of diverse fields of musical scholarship, from biography and music history to the theory of harmony. This collection addresses current issues in Schubert studies including compositional technique, the topical issue of 'late' style, tonal strategy and form in the composer's instrumental music, and musical readings of the 'postmodern' Schubert. Offering fresh approaches to Schubert's instrumental and vocal works and their reception, this book argues that the music that the composer produced from 1822–8 is central to a paradigm shift in the history of music during the nineteenth century. The contributors provide a timely reassessment of Schubert's legacy, assembling a portrait of the composer that is very different from the sentimental Schubert permeating nineteenth-century culture and the postmodern Schubert of more recent literature.
Music moves through time; it is not static. In order to appreciate music wemust remember what sounds happened, and anticipate what sounds might comenext. This book takes you on a journey of music from past to present, from the Middle Ages to the Baroque Period to the 20th century and beyond!
"This book explores Schubert's stylistic traits in a series of chapters each discussing an individual 'fingerprint' with case studies drawn principally from the piano and chamber music...Developing ideas which she first proposed in a series of journal articles and contributions to symposia on Schubert, Professor Wollenberg takes into account recent liturature by other scholars and draws together her own researches to present her view of Schubert's 'compositional personality'."--Book jacket.
The Vienna in which Franz Schubert lived for the thirty-one years of his life was not just a city of music, dance, and coffeehouses - a centre of important achievements in the arts. It was also the capital of an empire that was constantly at war in the composer's youth and that became a police state during his maturity.
In Franz Schubert's Music in Performance David Montgomery challenges many operative myths about the music of this great, but often misunderstood, Viennese master. Chief among them is the lingering notion that Schubert was poorly-trained but still managed to turn out brilliant, if often flawed, scores. Modern adherents of this view believe that Schubert could not notate his own musical wishes accurately, and that he was principally a creature of intuition. Accordingly, musicians might allow themselves wide intuitive leeway in the interpretation of his music. Another myth challenged by Montgomery is that Schubert was a conservative, or perhaps even a chronological throwback. Opposing recent attempts to legitimize performer-generated embellishment of Schubert's music in the style of the eighteenth century, He clarifies Schubert's contributions to the radical intellectualism of nineteenth-century romanticism. The book offers six informative chapters ranging from aesthetics and acoustics to the specifics of tempo and expression, plus an appendix of pertinent Viennese pedagogical sources. In addition to many years of musicological research, Montgomery brings long experience as a concertizing pianist and conductor to this engaging and controversial work.
This searching biography takes a fresh look at this elusive and misunderstood genius.
Essays over het snijvlak tussen compositieleer, analyse, betekenisgeving en de relatie tussen taal en muziek.
An accessible multi-disciplinary exploration of Franz Schubert's haunting late song cycle Winterreise (1827) that combines context and different analytical approaches.