Relevant bibliographies by topics / Robert Schumann

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Robert Schumann'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2025

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Journal articles on the topic "Robert Schumann"

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Ardura, Bernard. "Robert Schumann — “Father of Europe”." ISTORIYA 12, no. 11 (109) (2021): 0. http://dx.doi.org/10.18254/s207987840017651-5.

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The article examines the main milestones in the biography of Robert Schumann, a prominent politician in post-war France, a member of several cabinets and an active supporter of Western European integration, who proclaimed a plan to unite the production of coal and steel (“The Schuman Declaration”, known as “Schumann Plan” in Russian historiography). His efforts to achieve historic reconciliation between France and Germany after the deep trauma inflicted by the two World Wars are underlined. Particular attention is paid to Schumann's Christian worldview and his ideas about Christian values that serve the common good and the cause of uniting Europe.
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Kim, Ji-Young. "A Melody and Its Afterlives in Piano Music by the Schumanns and Brahms." 19th-Century Music 46, no. 3 (2023): 217–43. http://dx.doi.org/10.1525/ncm.2023.46.3.217.

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In the 1830s, Robert Schumann wrote Impromptus on a Romance by Clara Wieck (op. 5), a set of variations on the theme from Wieck’s Romance variée (op. 3). In the 1850s, Clara Schumann wrote variations (op. 20) on an “Albumblatt” from Robert Schumann’s Bunte Blätter (op. 99), which stimulated Brahms to write his own variations (op. 9) on the same theme. Clara and Brahms linked the two temporal nodes together by quoting the melody shared by Clara and Robert’s youthful ops. 3 and 5 in their later ops. 20 and 9. These borrowings have stimulated interpretations that revolve around representations of people through such means as ciphers, quotations, allusions, and motives. Yet documentary and circumstantial evidence—diary entries and correspondence, private forms of music making (sight-reading and practicing in solo and chamber settings), material culture in the form of giving and receiving flowers, and a little-discussed yet remarkable piano arrangement of Robert’s Piano Quintet, op. 44, by Brahms—suggest that Brahms’s op. 9 quotation of the Schumanns’ melody was meant to recall a shared experience during a poignant moment in the year 1854. Not only to be read and recognized on paper, musical borrowings can gain expressive value as performative acts creating an open-ended field of meaning.
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White, Stephen. "Fighting the Philistines: Robert Schumann and the Davidsbündler." Musical Offerings 12, no. 1 (2021): 1–9. http://dx.doi.org/10.15385/jmo.2021.12.1.1.

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Robert Schumann was an eccentric composer and musical critic who influenced the Romantic-era musical community through the formation of the Davidsbündler. This “league of David” was Schumann’s idea of a musical society which exemplified a distinctly pure style of modern musical composition. The style of the Davidsbündler was based on the idea that music must reflect the personal life experiences of its composer. Needing a journal to publish musical writings of Davidsbündler, Schumann created the New Journal for Music. Having himself suffered from mental instability throughout his life, Schumann’s music often displayed unique levels of polarity and passion in order to show his own life experiences. Schumann’s mental polarity and instability was directly showcased in his music through the natures of fictional characters Florestan and Eusebius. These characters are clearly displayed though the piano works Carnival and the Davidsbündlertänze. Through the use of modern musical compositional techniques such as chromaticism and syncopation along with clear characterizations of Florestan and Eusebius, the Davidsbündlertänze stands as a testament to the ideals of the Davidsbündler.
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Polska, I. І. "«Exegi monumentum»: the reflection of Schumann’s images in the Variations by J. Brahms on the theme by R. Schumann op. 23." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 249–61. http://dx.doi.org/10.34064/khnum2-17.16.

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Background. The problematics associated with the personal and creative relationships between Johannes Brahms and Robert Schumann, as well as the nature of their reflection in art, have been worrying the minds of researchers for more than a century and a half. One of significant, but little-studied aspects is the embodiment of Schumann’s images and associations in the four-handed piano works by J. Brahms. The article objective is revealing of the semantic specifics of the reflection of Robert Schumann creativity in the Variations by Johannes Brahms on the Theme by R. Schumann, op. 23. The study methodology determined by its objectives is integrative and based on the combination of general scientific approaches and musicological methods. The leading methods of research are the semantic, compositional-dramaturgic and genre-stylistic analyses. Results. Acquaintance with Robert and Clara Schumann (soon transformed into a romantic friendship) was a landmark, turning point in the life and work of J. Brahms. It was R. Schumann, who at some time first called young Chopin a “genius” and who also predicted to Brahms – at that time (in 1853) to almost no-known young musician – a great future in his latest article “New Ways” (after long literary silence), where the appearance of new genius solemnly proclaimed. The long hours of companionship of Brahms with Robert and Clara Schumann were filled of conjoint piano playing, very often – in four hands. Addiction to the four-handed duet playing was vividly reflected in the creativity of both, Schumann and Brahms. Creativity of J. Brahms is one of the highest peaks in the history of the genre of a four-handed piano duet. A special place among Brahms’ piano four-handed duets is occupied by the only major cyclical composition – the Variations on the Theme of R. Schumann op. 23 in E Flat Major, 1861. Variations op. 23 were written by the composer for the joint four-handed performance by Clara and Julia Schumann – the wife and the daughter of R. Schumann. The author dedicated his composition to Julie Schumann, with whom he was secretly in love at that time. The theme of variations is the melody, which was the last in the creative fate of R. Schumann. This theme was presented to Schumann in his night visions by the spirits of Schubert and Mendelssohn; the composer managed only to write down the theme and begin to develop it on February 27, 1854, on the eve of the tragic attack of madness, which led him to the hospital in Endenich. Brahms’s ethical and aesthetic task was to preserve for humanity the last musical thought of the genius and perpetuate his memory, creating an artistic monument to his great friend and mentor. Brahms’ idea is connected with the composer’s philosophical thoughts about death and immortality, about the meaning of being and the greatness of the creative spirit. This idea is even more highlighted due to the genre synthesis of the “strict tune” of the choral and the mourning march “in memory of a hero”. The level of associativity of each of these genre spheres is extremely high. It includes a huge range of musical and artistic phenomena The significant associative semantic layer of music of Variations is connected, of course, with Robert Schumann’s creativity. Brahms most deeply penetrates into the world of musical thinking of Schumann, turning to the favorite Schumann’s principle of free variation. The embodiment of this idea becomes both the tonal plan of the cycle, and the peculiarities of the genre characteristic of individual variations, and the psychological accuracy of specific figurative decisions, and the logical unity of the artistic whole with emphasizing of semantic significance of private details. In Schumann style, Brahms wrote the first four variations of op. 23. (Strictly speaking, the very idea of a “musical portrait” of a friend and like-minded person comes from the Schumann’s “Carnival” and “Kreisleriana”). Tonalities in the Variations get the semantic importance: E flat major as friendly and bright and E flat minor as intensely passionate. The tonal sphere “E flat major – E flat minor” for Brahms is the symbol of unity of the sublime and earthly, bright and gloomy, tragically passionate and calmly contemplative, it is a kind of image of the Universe, the Macrocosm that created by the individual musical thinking of the composer. The features of philosophical programmaticity of generalized type inherent in the Brahms conception predetermined the peculiarities of the figurative dramaturgy of Op. 23, reflecting the development and interaction of the main emotional-semantic lines of the cycle – lyrical, sublime tragic, fantastic, heroic and triumphal. The circle of the figurative development of the cycle is closed by the Schumann’s theme, creating an intonational-thematic and semantic arch framing the entire composition. The main theme of the Variations acquires here – as a result of a long and tragic dramatic way – features of a lyrical epitaph, a farewell word: “Exegi monumentum” – «I erected the monument»… Conclusions. In general, the music of Variations by J. Brahms on the Theme by R. Schumann is striking in its moral and philosophical depth, the power of artistic and ethical influence, emotional and figurative abundance and significance, compositional completeness and clarity of the dramatic solution. Variations on the theme by R. Schumann are a unique musical monument to the genius of Robert Schumann, created by the genius Johannes Brahms in honor and eternal memory to his great friend and teacher in the name of Music, Friendship and Love.
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WIECK, Clara. "To Robert Schumann." INTAMS review 3, no. 1 (January 1, 1997): 88–89. http://dx.doi.org/10.2143/int.3.1.2014824.

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Azenha Júnior, João. "Robert Schumann, tradutor." Tradterm 8 (April 18, 2002): 51. http://dx.doi.org/10.11606/issn.2317-9511.tradterm.2002.49119.

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Este trabalho é parte de um projeto de pesquisa mais abrangente, cujo objetivo é a tradução comentada e anotada dos <em>Gesammelte Schriften über Musik und Musiker</em> (Coletânea Integral de Escritos sobre Música e Músicos) do compositor alemão Robert Schumann à luz de sua relação com o Romantismo alemão – literatura e estética – e com os fundamentos da crítica musical. Neste artigo introdutório, procuro oferecer uma visão panorâmica do interesse de Schumann pelas línguas estrangeiras – o cerne de sua formação no <em>Gymnasium</em> de Zwickau – e de sua atividade como tradutor de poetas gregos e latinos. A transposição para a música de sua experiência literária como escritor, leitor, tradutor e editor revela Schumann sob dois aspectos: de um lado, como porta-voz, na música, dos expoentes do Classicismo alemão e de poetas de sua geração e, de outro, como um leitor voraz que, em suas composições, faz uma interpretação muito pessoal do cânone literário de sua época.
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Ferris, David. "Public Performance and Private Understanding: Clara Wieck's Concerts in Berlin." Journal of the American Musicological Society 56, no. 2 (2003): 351–408. http://dx.doi.org/10.1525/jams.2003.56.2.351.

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Abstract The critics of the Neue Zeitschrift für Musik idealized the private performance as an enlightened alternative to the public concert, and it was in private settings that Clara Wieck Schumann typically played Robert Schumann's music in the early years of her career. In the winter of 1839-40 she was in Berlin, abandoned by her father, Friedrich Wieck, and struggling to continue her career on her own. At Schumann's suggestion she performed his Sonata No. 2 in G Minor, Op. 22 in a public soirée. Afterwards Schumann decided his music was too personal for a public audience, and his major piano works were not heard again until the year of his death.
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Wißmann, Friederike. "Lyrische Momente des Fragmentarischen." Die Musikforschung 60, no. 2 (September 22, 2021): 117–28. http://dx.doi.org/10.52412/mf.2007.h2.529.

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Robert Schumann ist in der Neuen Musik häufig rezipiert worden. Ein Beispiel hierfür sind die "Sieben Fragmente für Orchester in memoriam Robert Schumann" von Aribert Reimann, die innerhalb des vielgestaltigen Schaffens von Reimann dessen Schwerpunkte Lied und Oper deutlich erkennen lassen.
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Jameux, Dominique. "Robert Schumann (1810-1856)." Commentaire Numéro 115, no. 3 (2006): 789. http://dx.doi.org/10.3917/comm.115.0789.

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Green, Richard D. "Robert Schumann als Lexikograph." Die Musikforschung 32, no. 4 (September 22, 2021): 394–403. http://dx.doi.org/10.52412/mf.1979.h4.1753.

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Dissertations / Theses on the topic "Robert Schumann"

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Knechtges, Irmgard. "Robert Schumann im Spiegel seiner späten Klavierwerke." Regensburg : G. Bosse, 1985. http://books.google.com/books?id=eE5BAAAAMAAJ.

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Eckerty, Christina D. Fieldman Hali Annette. "Narrative strategies in Robert Schumann's Davidsbündlertänze and Dichterliebe." Diss., UMK access, 2008.

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Thesis (Ph. D.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.
"A dissertation in performance." Advisor: Hali Fieldman. Typescript. Includes musical examples. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Includes bibliographical references (leaves 219-241). Online version of the print edition.
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Burger-Güntert, Edda. "Robert Schumanns "Szenen aus Goethes Faust : Dichtung und Musik /." Freiburg i. Br. [u.a.] : Rombach, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2867480&prov=M&dok_var=1&dok_ext=htm.

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Synofzik, Thomas. "Das Robert-Schumann-Haus Zwickau." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1237559062622-24488.

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Als 1901 ein Denkmal für Robert Schumann in seiner Geburtsstadt Zwickau eingeweiht wurde, regte der Musikforscher Max Friedländer in einer der Festreden die Einrichtung eines Schumann-Museums an. Bald gründete sich ein Museumsausschuss, dessen Vorsitz der Oberlehrer Martin Kreisig übernahm. In Schumanns Todesjahr 1856 geboren, war Kreisig über die mit Schumann eng befreundete Familie Serre von Kind auf in die Schumann-Tradition eingeführt worden. Zur 100. Wiederkehr des Geburtstags Robert Schumanns am 8. Juni 1910 konnte die erste Frucht dieser Bemühungen durch eine Sonderausstellung in der Aula des Zwickauer Gymnasiums präsentiert werden.
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Källberg, Lina. "Robert Schumann: Humoreske op. 20." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2355.

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Denna uppsats behandlar Robert Schumanns Humoreske op. 20 och ställer upp ett förslag till tolkning utgående från kompositörens liv och psyke. Syftet med arbetet har varit att skaffa en stabil kunskapsbas att utgå från då jag tolkar stycket och på så vis göra interpretationen så övertygande som möjligt. Uppsatsen inleds med en redogörelse av kompositörens liv fram till åren han skrev verket. Därpå följande rubrik innehåller en beskrivning av de metoder som använts för att uppnå önskat resultat. Därefter följer en formanalys och kronologisk genomgång av verket som ställer fram ett förslag till tolkning och slutet av uppsatsen består av en diskussion över nyttan av bakgrundskunskap om kompositören vid instudering av ett verk. Jag anser mig ha hittat möjliga samband mellan Schumanns livssituation och hans musik, vilket man kan ha nytta av inte bara vid instuderingen av Humoreske op. 20 utan även då man tar sig an andra verk av samma kompositör.

R. Schumann: Kinderszenen op. 15R. Schumann: Humoreske op. 20

Lina Källberg, piano

Som bilaga medföljer en inspelning av examenskonserten där dessa verk framfördes.

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Hartmann, Andrea. "Musikhandschriften des Dresdner Schumann-Albums." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61273.

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Von dem sogenannten Schumann-Album, welches die Sächsische Landesbibliothek 1934 erwarb, sind insgesamt 57 musikalische Albumblätter erhalten und bereits digitalisiert. Darunter einige Stücke einer Sammlung von Clara Schumann und auch Kompositionen, die Robert Schumann von Komponisten erhielt.
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Smith, Shelley L. "Recasting Gender: 19th Century Gender Constructions in the Lives and Works of Robert and Clara Schumann." Akron, OH : University of Akron, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1247788301.

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Thesis (M.Mus.)--University of Akron, School of Music, 2009.
"August, 2009." Title from electronic thesis title page (viewed 10/7/2009) Advisor, Brooks Toliver; Faculty Reader, George Pope; School Director, William Guegold; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.
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Preiss, Friederike. "Der Prozess : Clara und Robert Schumanns Kontroverse mit Friedrich Wieck /." Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2004. http://catalogue.bnf.fr/ark:/12148/cb392786527.

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Preiß, Friederike. "Der Prozeß : Clara und Robert Schumanns Kontroverse mit Friedrich Wieck /." Frankfurt am Main [u.a.] : Lang, 2004. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=012926735&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Grolik, Yvonne. "Musikalisch-rhetorische Figuren in Liedern Robert Schumanns /." Frankfurt am Main : Haag und Herchen, 2002. http://catalogue.bnf.fr/ark:/12148/cb39173236h.

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Books on the topic "Robert Schumann"

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Edler, Arnfried. Robert Schumann. München: Beck, 2009.

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Spies, Günther. Robert Schumann. Stuttgart: P. Reclam, 1997.

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François-Sappey, Brigitte. Robert Schumann. Paris: Fayard, 2000.

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Jean-Claude, Teboul, ed. Robert Schumann. Paris: J.M. Place, 2004.

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Barbara, Meier. Robert Schumann. Reinbek bei Hamburg: Rowohlt, 1995.

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Fuller-Maitland, J. A. Schumann. New York: Cambridge University Press, 2009.

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Novara, Elisa. Robert Schumann: Dall'Italia. Lucca: Libreria musicale italiana, 2014.

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Boucourechliev, André. Schumann. Paris: Seuil, 1995.

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1810-1856, Schumann Robert, and Kersten Ursula 1926-, eds. Briefe an Robert Schumann. Frankfurt am Main: P. Lang, 1988.

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Rostagno, Antonio. Kreisleriana di Robert Schumann. Palermo: L'epos, 2007.

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Book chapters on the topic "Robert Schumann"

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Stegbauer, Hanna. "Schumann, Robert." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_21853-1.

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Edler, Arnfried. "Schumann, Robert." In Metzler Komponisten Lexikon, 718–25. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_277.

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Hansen, Mathias. "Robert Schumann." In Kammermusikführer, 578–88. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_116.

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Edler, Arnfried. "Schumann, Robert." In Komponisten Lexikon, 567–72. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_284.

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Edler, Arnfried. "Schumann, Robert." In Komponisten, 239–45. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_46.

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Tadday, Ulrich. "Zur Musikästhetik Robert Schumanns." In Schumann Handbuch, 127–38. Stuttgart: J.B. Metzler, 2006. http://dx.doi.org/10.1007/978-3-476-00026-2_5.

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Gülke, Peter. "Robert Schumanns jubelnd erlittene Romantik." In Schumann Handbuch, 16–79. Stuttgart: J.B. Metzler, 2006. http://dx.doi.org/10.1007/978-3-476-00026-2_2.

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Hentschel, Frank. "Robert Schumann in Musikgeschichtsschreibung und Biographik." In Schumann Handbuch, 551–62. Stuttgart: J.B. Metzler, 2006. http://dx.doi.org/10.1007/978-3-476-00026-2_20.

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Baumgärtel, Bettina. "Robert Schumann und die Bildende Kunst." In Schumann Handbuch, 82–106. Stuttgart: J.B. Metzler, 2006. http://dx.doi.org/10.1007/978-3-476-00026-2_3.

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Appel, Bernhard R. "Poesie und Handwerk: Robert Schumanns Schaffensweise." In Schumann Handbuch, 140–93. Stuttgart: J.B. Metzler, 2006. http://dx.doi.org/10.1007/978-3-476-00026-2_6.

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Conference papers on the topic "Robert Schumann"

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DIAO, Ke. "A Study on the Music and Writing Characteristic of Robert Schumann's Diechterliebe." In 2021 International Conference on Culture, Literature, Arts & Humanities. Clausius Scientific Press, 2021. http://dx.doi.org/10.23977/icclah2021021.

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Schumann's Diechterliebe is deep in annotation explanatory note of the poem, accurate. Schumann is good at portraying the fine and smooth emotion of heart, he has expanded the vocal music and created the tactics with their fresh styles, make art song vocal music sing between part and piano accompany partly organic to combine, inseparable, undertaking to demonstrate the mission of the real intension of poems together.
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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.
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Link, Martin. "Signum et gens – Zur Gendersemiotik in Clara und Robert Schumanns Liederzyklus Liebesfrühling." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.62.

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The marriage between Clara and Robert Schumann is one of the most popular relationships in music history. In 1840, a song cycle named Liebesfrühling with songs from Clara Schumann as well as from her husband was collectively published under their names. Despite the fact that the married couple did not specify the voice register and gender of the vocal parts within the score, some hints indicating the gender of the personas can be found for instance in the personal pronouns of the text. Yet, some parts of the song cycle do not provide such clues, leaving the question, to which gender the vocal parts are ascribed, completely open. Nevertheless, some scholarly examinations like Melinda Boyd’s publication Gendered voices. The “Liebesfrühling” Lieder of Robert and Clara Schumann try to answer this question using semiology as a method to indicate gender assignments. However, this raises the question of how far gender aspects can be examined through semiotic approaches. What symbols are used to specify gender? Did this change in history? And can these ascriptions be found in the music of Clara and Robert Schumann? The chosen method will show difficulties because of its time-constraint and the problem of relevancy. This is why the proposed theses of Boyd will be inspected regarding the text and the score of the song cycle Liebesfrühling. At the same time, the investigation will try to consider the importance of contemporary performance practice.
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Novara, Elisa. "Eine Schumann-Werkstatt? Zur Übertragbarkeit der Methoden vom Projekt »Beethovens Werkstatt« auf andere Komponisten." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.66.

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The research project “Beethovens Werkstatt” is intended as a contribution to basic musicological research. Methods, concepts and digital components developed in this project using the example of Beethoven are meant to be transferable to other composers. In my paper, I choose Robert Schumann as an example to test this transferability. Concepts that were developed in the course of the first module of “Beethovens Werkstatt” aim at the reconstruction and digital representation of genetic variants. They are based on research on the composer’s work processes. Fundamental aspects of this research include, for example, the temporality of the writing process; the composer’s self-critical dialogue with what he has already written; the work routines that may lie behind it (can certain compositional strategies be derived from them?). These questions are not only specific to Beethoven. They can generally be asked in connection with other composers. However, a prerequisite for an insightful research is a good record of handwritten texts and manuscripts. Due to the rich source material and Schumann’s habit of documenting many details in his diaries and working manuscripts, a text-genetic and digital analysis of his working methods is particularly suitable.
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Tiemeyer, Daniel. "Johann Nepomuk Hummels Sonate in fis-Moll Op. 81 – Studien zu Entstehungshintergrund, Rezeption und formaler Struktur." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.74.

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The article examines the significance of one of Johann Nepomuk Hummel’s masterpieces. First, it highlights the circumstances of its production and the contemporary critical acclaim in the AmZ. In a second step, Robert Schumann’s involvement with this work is shown. In his journal, the sonata of Hummel is mentioned several times which indicates the engagement of the young piano discipline. In a short article, published in the NZfM in the year 1839, Schumann links this sonata with the compositional “way of Mozart” and thus gives an important hint to the formal design of the piece itself. Aspects of formal organization and structure of this sonata are analyzed and presented in the third part of the essay. In opposition to Beethoven’s motivic development, Hummel pursues another strategy of formal structure by stringing together each of the segments and themes. Thus, the focus shifts from a dynamic design of sonata-form to a more epic layout of the piece. Additionally, technical development and innovations concerning piano techniques and virtuosity are examined.
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Reichwald, Siegwart. "Die Leiden der jungen Clara: Das Klaviertrio Opus 17 als Ausdruck einer Neu-Romantikerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.69.

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Two reasons precipitated the move of the Schumanns to Dresden: Robert Schumann’s health and the reconciliation with Clara Schumann’s father. Yet Dresden quickly turned into disappointment: Robert’s mental condition worsened, relations with her father deteriorated. Burdened with familial responsibilities and no time for concert tours, Clara found expression in her most ambitious and melancholic composition, creating one of the most individualistic and innovative chamber works of her generation. Central to this narratological reading is the composer’s use of the Clara theme (diatonically descending fifth) and its many derivatives throughout the work. Substantial revisions found in the autograph (RSH 12897-A1) present obvious clues about overarching thematic and harmonic strategies and early reviews emphasizing the composer’s individualistic voice offer further hermeneutic insights. To express her disappointing Dresden experience defiantly, Clara explored the possibilities of thematic integration among all four movements as well as a super-imposed sonata form design across the whole work.
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Barros, André da Silva. "DA CRISTIANIZAÇÃO DOS REINOS GERMÂNICOS À UNIÃO EUROPEIA DE ROBERT SCHUMANN: Um estudo sobre os principais alemães durante a história da Filosofia e a relação com o Cristianismo – Um estudo em Gramsci sobre o “eclesiástico orgânico”." In VIII Semana de Orientação Filosófica e Acadêmica. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/phipro-sofia-004.

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Kim, Ji Young. "Clara Schumann and Jenny Lind in 1850." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.85.

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Clara Schumann’s 1850 tour of northern Germany with her husband officially ended with a successful concert in Altona where Jenny Lind made a surprise appearance. Immediately thereafter, one more concert featuring the pianist, singer, and Robert’s music was added at the last minute to take place in Hamburg. This too was a success. But a detail that made it especially memorable was Lind’s position behind the piano lid so that, as Clara recounted in her diary, many audience members could hardly catch a glimpse of her. This paper explores the rationales and implications of this singular and fleeting moment, and teases out aspects of the two star performers’ relationship both on and off the stage. In the process, the paper draws attention to hitherto neglected variables in the performance practice of Lieder and seeks to expand our lines of inquiry with regards to the 19th-century Lied as cultural practice.
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Jelonek, Jonas, Jonas Stephan, David Bochmann, and Lars Gebken. "BEXUS30 – ELFI: Measuring Schumann resonances in the atmosphere." In Symposium on Space Educational Activities (SSAE). Universitat Politècnica de Catalunya, 2022. http://dx.doi.org/10.5821/conference-9788419184405.043.

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The ELFI project was one of nine BEXUS experiments carried in two stratospheric balloons in 2021. The aim of the experiment was to develop a system for the non-stationary measurement of electromagnetic waves in the extremely low frequency range. The Schumann resonances that are part of this range are especially important for meteorological research. For the planned use of the system on a stratospheric balloon, various requirements and aspects regarding the measurement environment had to be considered during the development. The system is based on a magnetic loop antenna connected to a signal processing unit, the Analog Front-End. The antenna has special characteristics to enable the measurement of Schumann resonances. Due to the necessary high sensitivity of the antenna, a deployment mechanism was developed to lower the antenna for the measurement, thus reducing the influence of interference from the electronics or actuators of other experiments on the gondola. After the balloon is launched, the mechanism is extended, and the antenna is lowered below the gondola. The Analog Front-End has several stages that filter, amplify and digitalize the signal measured with the antenna. An on-board computer, built from reliable general-purpose hardware, performs the measurement, organizes and stores the measurement data, and provides communication with the ground station. Hence, monitoring and control of the experiment through the ground station was possible. In addition, an algorithm for automatic gain control was integrated to allow flexible measurement of different amplitudes. In several testing periods the system was validated for functionality and reliability. Through numerous preliminary tests, frequencies from reference sources could be detected, e.g., 50 Hz of the power supply network or 16.67 Hz of the railroad power supply. Underground measurements confirmed that the system is suitable for detecting low frequencies. Furthermore, the system was tested and confirmed to be usable under extreme conditions like low temperatures and low air pressures. The developed deployment mechanism with scissor arms was proved to be robust and flexible. Both hardware and software worked as expected and are reliable and adaptable to different conditions. During final tests in an almost interference-free area our system was able to record optimal signals, in which the Schumann resonances could be detected. Based on these successful results, the system was ready to be deployed on the stratospheric balloon to perform measurements in the atmosphere
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Hladká, Simonetta. "K problematike percepcie artificiálnej hudby u žiakov staršieho školského veku na hodinách hudobnej výchovy." In Musica viva in schola. Brno: Masaryk University Press, 2023. http://dx.doi.org/10.5817/cz.muni.p280-0272-2023-4.

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The author in her article deals with the teaching of music perception, together with it’s reflexion of music lesson which was carried out in the year 2022/2023 in the eighth grade of the Nevädzová 2 Elementary School, Bratislava. Generally, the lesson was thematically focused on the music of romanticism. It’s theme was the active listening of Robert Schumann’s Piano Concerto in A minor and the goal was to verbalize the atmosphere.
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