| For most of the past century, the prevailing attitude among students and interpreters of Schubert's Lieder has been that the musical texts of these masterworks are self-contained and complete in themselves, and that, unlike most of the vocal music that preceded them, these songs should be sung entirely without added embellishment. Recently authorities on Schubert have begun a reevaluation of this attitude in the musicological literature. A review of the literature, undertaken in conjunction with a study of relevant theorists and the compositional practices of Schubert, as well as those of several of his contemporaries, has convinced me that ornamentation of the composer's songs is a practice that is not only historically documented, but approved by Schubert himself (Chapters I-III).;This dissertation focuses upon an analysis of this document (Chaper IV) along with two other documents from the same period (Chapter V). These include the Diabelli-Ausgabe of Die schone Mullerin, printed around 1829, and the Tremier Songbook, preserved within the Archives of Vienna's Stadt- und Landesbibliothek. Discussion of the ornaments found in these documents concerns their identification and usage. The information gathered from these documents, in conjuction with those traits observed in Schubert's own embellishment practice, is condensed and collated into a list entitled "Guidelines for Embellishment." The guidelines are then applied to the culmination of this project, the embellishment of Die schone Mullerin.;The practice of applying arbitrary ornaments to Schubert's songs was originally initiated by the famous Viennese opera singer Johann Michael Vogl who was a close friend of the composer, his performance partner, and his first notable interpreter. Vogl's style of embellishment appeared in several of his personal songbooks, one of which has been preserved in the Gesellschaft der Musikfreunde in Vienna. |
