The 12 German dances, D. 128, are the earliest extant set of dances by Franz Schubert. This set is studied for figures that appear commonly in his later dance music: a free and expressive treatment of ^6 in the major key, ascending gestures in cadences, and V9 harmonies. The conclusion is that Schubert's treatment of these figures in D. 128 is more conservative than it is in certain of his dances from the 1820s. In an appendix, comparisons are made with two later sets: 8 Ländler, D. 378 (1816), and 16 Deutsche Tänze, D. 783 (1825).Musi
Schubert's treatment of the medial caesura differs on many levels from that of the Classical traditi...
This is Part 5d of a multi-part essay gathering compositions with ascending lines and cadence gestur...
Franz Schubert (1797-1828) changed vocal music during the Romantic Era. With the intent of improving...
The 12 German dances, D. 128, are the earliest extant set of dances by Franz Schubert. This set is s...
This file has six parts: the first concerns dancing in Vienna and dance music genres during the brie...
The 36 waltzes comprising Franz Schubert’s “Originaltänze” (First Waltzes) were written in 1816 when...
In the second volume of his Kritische Briefe (1763), Friedrich Wilhelm Marpurg mentions "eine besond...
Franz Schubert (1797-1828) left many musical scores containing his earliest compositional efforts. H...
Rising melodic figures have a long history in cadences in European music of all genres. This essay d...
‘Bear Dance’ (German ‘Bärentanz’) appears to have been a lesser-known nineteenth-century character p...
From his earliest days in Vienna, Brahms played a leading role in contemporary efforts to preserve t...
This article gathers a large number of analyses of a single waltz by Franz Schubert: the anomalous A...
In 1815 and 1816 Franz Schubert imposed upon himself a song apprenticeship, relying heavily on the s...
Franz Schubert enlarged Classical models to extend music’s symmetry and downplay its teleological im...
This work traces Schubert's use of recitative in Lieder from its inception in his first song D5 Haga...
Schubert's treatment of the medial caesura differs on many levels from that of the Classical traditi...
This is Part 5d of a multi-part essay gathering compositions with ascending lines and cadence gestur...
Franz Schubert (1797-1828) changed vocal music during the Romantic Era. With the intent of improving...
The 12 German dances, D. 128, are the earliest extant set of dances by Franz Schubert. This set is s...
This file has six parts: the first concerns dancing in Vienna and dance music genres during the brie...
The 36 waltzes comprising Franz Schubert’s “Originaltänze” (First Waltzes) were written in 1816 when...
In the second volume of his Kritische Briefe (1763), Friedrich Wilhelm Marpurg mentions "eine besond...
Franz Schubert (1797-1828) left many musical scores containing his earliest compositional efforts. H...
Rising melodic figures have a long history in cadences in European music of all genres. This essay d...
‘Bear Dance’ (German ‘Bärentanz’) appears to have been a lesser-known nineteenth-century character p...
From his earliest days in Vienna, Brahms played a leading role in contemporary efforts to preserve t...
This article gathers a large number of analyses of a single waltz by Franz Schubert: the anomalous A...
In 1815 and 1816 Franz Schubert imposed upon himself a song apprenticeship, relying heavily on the s...
Franz Schubert enlarged Classical models to extend music’s symmetry and downplay its teleological im...
This work traces Schubert's use of recitative in Lieder from its inception in his first song D5 Haga...
Schubert's treatment of the medial caesura differs on many levels from that of the Classical traditi...
This is Part 5d of a multi-part essay gathering compositions with ascending lines and cadence gestur...
Franz Schubert (1797-1828) changed vocal music during the Romantic Era. With the intent of improving...