{"title":"灵魂在水面上歌唱","authors":"A. Rizzuti","doi":"10.6092/ISSN.2039-9715/11938","DOIUrl":null,"url":null,"abstract":"The article examines the different versions of Schubert's Choral Lied on a text by Goethe Gesang der Geister uber den Wassern, focusing mainly on the final version for male octet and string ensemble. The investigation starts with a semantic-morphological analysis of the verbal text and then concentrates on the solutions Schubert experimented with in an attempt to produce a setting as close as possible to the spirit of Goethe’s text.","PeriodicalId":30273,"journal":{"name":"Musica Docta","volume":"10 1","pages":"179-194"},"PeriodicalIF":0.0000,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Canto degli spiriti sopra le acque\",\"authors\":\"A. Rizzuti\",\"doi\":\"10.6092/ISSN.2039-9715/11938\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The article examines the different versions of Schubert's Choral Lied on a text by Goethe Gesang der Geister uber den Wassern, focusing mainly on the final version for male octet and string ensemble. The investigation starts with a semantic-morphological analysis of the verbal text and then concentrates on the solutions Schubert experimented with in an attempt to produce a setting as close as possible to the spirit of Goethe’s text.\",\"PeriodicalId\":30273,\"journal\":{\"name\":\"Musica Docta\",\"volume\":\"10 1\",\"pages\":\"179-194\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-12-22\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Musica Docta\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.6092/ISSN.2039-9715/11938\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Musica Docta","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.6092/ISSN.2039-9715/11938","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
本文考察了歌德·格桑·德·盖斯特·uber den Wassern的《舒伯特的合唱谎言》的不同版本，主要关注男性八重奏和弦乐合奏的最终版本。调查从言语文本的语义形态分析开始，然后集中于舒伯特尝试的解决方案，试图创造一个尽可能接近歌德文本精神的环境。
The article examines the different versions of Schubert's Choral Lied on a text by Goethe Gesang der Geister uber den Wassern, focusing mainly on the final version for male octet and string ensemble. The investigation starts with a semantic-morphological analysis of the verbal text and then concentrates on the solutions Schubert experimented with in an attempt to produce a setting as close as possible to the spirit of Goethe’s text.
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