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Hearing Voices: The Narrative Function of the Piano Voice in Schubert's Winterreise.
Record Type:
Electronic resources : Monograph/item
Title/Author:
Hearing Voices: The Narrative Function of the Piano Voice in Schubert's Winterreise./
Author:
Dempsey, Mariclare.
Published:
Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:
63 p.
Notes:
Source: Masters Abstracts International, Volume: 81-10.
Contained By:
Masters Abstracts International81-10.
Subject:
Musical composition. -
Online resource:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27981015
ISBN:
9798607322281
Hearing Voices: The Narrative Function of the Piano Voice in Schubert's Winterreise.
Dempsey, Mariclare.
Hearing Voices: The Narrative Function of the Piano Voice in Schubert's Winterreise.
- Ann Arbor : ProQuest Dissertations & Theses, 2020 - 63 p.
Source: Masters Abstracts International, Volume: 81-10.
Thesis (Mus.M.)--Bowling Green State University, 2020.
This item must not be sold to any third party vendors.
Franz Schubert (1797-1828) composed his last song cycle Winterreise in the spring andfall of 1827. The text for this celebrated work comes from a set of twenty-four poems written byWilhelm Muller (1794-1827) and describes the physical and emotional journey of the protagonistafter he has been rejected by his loved one.In this thesis I will analyze the narrative relationship between the voice and the piano andits development throughout the cycle, using the methodologies of Edward T. Cone and CarolynAbbate. Musico-poetic works can be challenging to view as a seamless piece in which bothmusic and text work together to create a full image of the narrative. By distinguishing thepersonas of the vocal and piano parts, however, and assessing their distinct "voices" (separatelyand in collaboration) it is possible to view them as a cohesive whole and grasp the full meaningof the song cycle. The melody sung by the cycle's protagonist, often referred to as "theWanderer," bears much of the obvious burden for narrating Muller's poetry as the Wanderer'sconscious voice. The Wanderer's unconscious emotions that guide his journey are found in thepiano part which plays an integral role by setting the scene, providing insights before and afterthe singer's words, and even actively consoling and inspiring the Wanderer as he pours out thetale on stage for all to hear. An understanding of Schubert's narrative can only be grasped byanalyzing the relationships between both the voices of the singer and the piano.
ISBN: 9798607322281Subjects--Topical Terms:
3289630
Musical composition.
Subjects--Index Terms:
Schubert
Hearing Voices: The Narrative Function of the Piano Voice in Schubert's Winterreise.
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Franz Schubert (1797-1828) composed his last song cycle Winterreise in the spring andfall of 1827. The text for this celebrated work comes from a set of twenty-four poems written byWilhelm Muller (1794-1827) and describes the physical and emotional journey of the protagonistafter he has been rejected by his loved one.In this thesis I will analyze the narrative relationship between the voice and the piano andits development throughout the cycle, using the methodologies of Edward T. Cone and CarolynAbbate. Musico-poetic works can be challenging to view as a seamless piece in which bothmusic and text work together to create a full image of the narrative. By distinguishing thepersonas of the vocal and piano parts, however, and assessing their distinct "voices" (separatelyand in collaboration) it is possible to view them as a cohesive whole and grasp the full meaningof the song cycle. The melody sung by the cycle's protagonist, often referred to as "theWanderer," bears much of the obvious burden for narrating Muller's poetry as the Wanderer'sconscious voice. The Wanderer's unconscious emotions that guide his journey are found in thepiano part which plays an integral role by setting the scene, providing insights before and afterthe singer's words, and even actively consoling and inspiring the Wanderer as he pours out thetale on stage for all to hear. An understanding of Schubert's narrative can only be grasped byanalyzing the relationships between both the voices of the singer and the piano.
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http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27981015
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