Schubert Research Papers - Academia.edu (original) (raw)

From the Romantic era onwards music has been seen as the most quintessentially temporal art, possessing a unique capacity to invoke the human experience of time. Through its play of themes and recurrence of events music has the ability to stylise in multiple ways our temporal relation to the world, with far-reaching implications for modern conceptions of memory, subjectivity, personal and collective identity, and history. Time, as philosophers, scientists and writers have found throughout history, is notoriously hard to define. Yet music, seemingly bound up so intimately with the nature of time, might well be understood as disclosing aspects of human temporality unavailable to other modes of inquiry, and accordingly was frequently granted a privileged position in nineteenth-century thought. For if this age understood time, it was through a melody.
This book examines the multiple ways in which music may provide insight into the problematics of human time. Whether in the purported timelessness of Beethoven’s late works or the nostalgic impulses of Schubert’s music, in the use of music by philosophers as a means to explicate the aporias of temporal existence or as medium suggestive of the varying possible structures of time, as a reflection of a particular culture’s sense of historical progress or the expression of the intangible spirit behind the course of human history, each of the book’s chapters explores a specific theme in the philosophy of time as expressed through music. They chart the development across the course of the nineteenth century of music’s capacity to convey the manifold nuances of time, revealing how music would finally become seen as the ideal instantiation of time and human existence itself. At once historical, analytical, critical, and ultimately hermeneutic, it provides both fresh insight into many familiar nineteenth-century pieces and a rich theoretical basis for future research.

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- Metaphysics of Time, Nineteenth-Century Music, Russian Music, Memory Studies

Musical Times 141/1872 (Autumn 2000), 58-59

- by Anthony Gritten
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- Musicology, Franz Schubert, Schubert, 19th century Vienna
- by Katia Quispe Rivera
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- Brahms, Schubert, Chopin
- by Matthew Riley
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- Franz Schubert, Music analysis, Theory of Harmony, Schubert

Notas al programa del cuarteto núm. 14 en Re menor D. 810, Der Tod und Das Mädchen (La muerte y la doncella).
Al igual que la vida de Schubert, La muerte y la doncella resulta una obra contrastante. Por un lado el temor y por otro la esperanza, ambos entablaban un diálogo personificados en una joven y asustada doncella con una imponente pero amable muerte, donde la dama suplica por su vida, aunque finalmente parece sucumbir al inminente final.

- by Angélica Montserrat Pérez Lima
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- Music, Music History, Musicology, String Quartets

It has been said that Schubert’s Fifth Symphony was a copy of Mozart’s Fortieth Symphony. However, in George Edwards’s article, A Palimpsest of Mozart in Schubert’s Symphony No.5, he concludes that Schubert did not mean to copy Mozart, but he was just “(doing) something clever” with Mozart. The word “Palimpsest” seems more to be an irony, rather than its literal meaning.
This thesis investigates on the relationship between the two symphonies by comparing them in an analytical approach. The general purpose of this research is to further examine Edwards’s final statement through comparing and analyzing the other movements of both works. These movements will be compared in various aspects, including melody, harmony, sections, forms, phrases, orchestrations, dynamics, texture and typical characteristics. Scott Folgesong’s analysis will also be taken as reference. Through this analysis, I hope to find out Schubert’s way of composition for his Fifth Symphony, so as to prove whether Edwards’s assumptions are right. After this research, I hope to prevent the scholars from misunderstanding these two compositions.

- by Kelvin Liao
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- Music Theory, Mozart, Franz Schubert, Music analysis

This paper seeks to open the inquiry into an inviting but elusive topic (which should no doubt be part in its turn of a larger inquiry into Beckett’s relations with Romanticism in general, and German Romanticism in particular, in both literature and painting and music). Schubert is the composer whom Beckett loved above all others. The paper investigates the nature of the imaginative affinities that can be recognised between the two artists by asking what Beckett might have heard in two songs from the cycle WINTERREISE, which he considered Schubert’s “masterwork”.

- by Paul Lawley
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- Samuel Beckett, Literary Influence, 19th Century, Singing

Images of Schubert in portraiture often seemingly emphasise the comfortable amiability of the familiar beloved and bespectacled Viennese songsmith. Furthermore, the famously laconic pose struck in the Wilhelm August Rieder painting belies the existence of tensions under that calm exterior which are only ever fully revealed in Schubert’s music. It is almost incomprehensible that a life as short in duration as it was devoid of drama could have inspired works that speak to us as profoundly as any of the complexities and emotional richness of the human spirit.

- by Frederick Scott
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- Piano Music, Schubert, Viennese Music, A M

What role does the general public have in metaphors? The answer lies in the comprehensive application of the metaphor to the wider field of all the arts, and specifically architecture and music. Recalling that much has already been... more

- by Barie Fez-Barringten
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- Voice (Music), Mozart, Beethoven, Voice
- by Suzannah Clark
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- Schubert
- by Izaly Zemtsovsky
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- Music, Musicology, Ethnomusicology, Franz Schubert