LIEDER FRANZ SCHUBERT HEIDENR�SLEIN SYAIR GOETHE DAN AN DIE MUSIK SYAIR SCHOBER SEBUAH STUDI MUSIKOLOGIS
| Main Authors: | , ANTONIUS GATHUT BINTARTO TRIPRASETYO, , Prof. Dr. Victor Ganap, M.Ed. |
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| Format: | Thesis NonPeerReviewed |
| Terbitan: |
[Yogyakarta] : Universitas Gadjah Mada
, 2013
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| Subjects: | |
| Online Access: |
https://repository.ugm.ac.id/123662/ http://etd.ugm.ac.id/index.php?mod=penelitian_detail&sub=PenelitianDetail&act=view&typ=html&buku_id=63776 |
Daftar Isi:
- Franz Peter Schubert, one of the well-known Vienna�s composer, is recognized by his greatest number and melodious Germany art songs called lieder which up to nearly 600 songs and by then being called as the father of the lied. Many of his lieder pieces used for training the singer in his/her beginning of their lesson. His short life-span (from 1797 until 1828) was expanded in the transition era from Classic to Romantic. His lieder is frequently being misinterpreted by the reason of the transition of that musical era and by the cause of the lack of performance information from him as he never doing his solo performance. The Semiotic Theory of Tripartition by Molino and The Theory of Musical Activities conducted by Alan P. Merriam served as the approaching basic to cover up the deviation in performing the Franz Schubert�s lieder style with the aids of review and notes from the reviewer, friends of his circle, and the performers from the posthumous performance. Musicological approach is used to find the principle of Schubert�s lieder style based on the spirit as he set down his composition. Two of his greatest masterpieces Heidenröslein and An Die Musik are chosen to show the elements of performance guidance used for each song. The characteristic of Schubert�s lieder is the result of many influences especially from the well-known composer such as Beethoven, Mozart and Haydn. The economic situation made him closed to his circle of friend and formed his intimate style of composing. The poem he chose indicates the freedom to express his feeling to such things like to appreciate the rose flower on Heidenröslein or to art on An Die Musik. He used the simple melodious folksong style, perfect balance between piano and voice, the medium tempo and various meter, caesura, modulation, simple harmonization and particular rhythmical pattern to build his style on the poetry he composed as a song. Based on the fact mentioned above, his composition is related closer to Classical style than the Romantic one and he is more precisely known as the Classical composer.