Filled with exquisite prose and fresh, rejuvenating ideas, Drama in the Music of Franz Schubert should become a must-read resource for scholars and students seeking models of engaging, deeply musical scholarly work." It provides a welcome summary of the major trends in the past two decades of research into Schubert's music as well as a tantalizing invitation for further innovation as the Schubertian community accommodates new ideas and approaches with open arms. "This excellent book offers something for everyone, with exemplary studies using a wide range of analytical and hermeneutic techniques. JOURNAL OF THE SOCIETY FOR MUSICOLOGY IN IRELAND
should interest musicologists, theorists, and performers alike, contains many valuable new insights into Schubert's music, an oeuvre that cannot be so easily pinned down by any traditional aesthetic category." the editors seek to highlight Schubert's innovations in theatrical composition, shed new light on those of Schubert's lieder that have special claims on drama, and elucidate his unique approaches to drama in instrumental music. "Correcting the record when it comes to Schubert's supposed lack of success in musical drama. Stylistic Disjuncture as a Source of Drama in Schubert's Late Instrumental Works. Virtual Protagonist and Musical Narration in the Slow Movements of Schubert's Piano Sonatas D. Music as Poetry: An Analysis of the first movement of Schubert's Piano Sonata in A major, D. Lyricism and the Dramatic Unity of Schubert's Instrumental Music: The Impromptu in C Minor, D. 'Zumsteeg Ballads without Words': Inter-Generic Dialogue and Schubert's Projection of Drama through Form - Anne Hyland Reentering Mozart's Hell: Schubert's 'Gruppe aus dem Tartarus', D. 'Durch Nacht und Wind': Tempesta as a topic in Schubert's Lieder - Clive McClelland The Dramatic Strategy Within Two of Schubert's Serenades. Gretchen abbandonata: The Lied as Aria - Marjorie Hirsch Schubert's Dramatic Lieder: Rehabilitating 'Adelwold und Emma', D. The Dramatic Monologue of Schubert's Mass in A flat major. Pioneering German Musical Drama: Sung and Spoken Word in Schubert's Fierabras - Christine Martin Opera that Vanished: Goethe, Schubert and Claudine von Villa Bella - Lorraine Byrne Bodley Introduction: Internal Dramas - Laura Tunbridge JAMES WILLIAM SOBASKIE is Associate Professor of Music at Mississippi State University.Ĭontributors: 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 JOE DAVIES is College Lecturer in Music at Lady Margaret Hall, University of Oxford.
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. 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. 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.
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. 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. She is also very sensitive to liaisons between word sounds in the musical settings.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. This experienced language coach adapts the “R” in German in the slow versions as recommended for classical singers. The diction for each song is recorded twice: first recited as an actor would speak it, showing flow of the language and the mood, followed by a slow, deliberate lesson, allowing time for the student to repeat each line. The diction lessons were recorded by Irene Spiegelman, German diction coach at the Metropolitan Opera. Includes historical notes, translations and International Phonetic AlphabetĪ collection of essential Schubert songs for students. With online audio recordings of diction lessons and piano accompaniments
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