Dissertations / Theses: 'Robert Schumann piano music'

1

Kang, Mahn-Hee. "Robert Schumann's piano concerto in A minor, Op. 54 : a stemmatic analysis of the sources /." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225222077.

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2

Tseng, Shih-Chen. "Literary characteristics hidden in Schumann's piano music : taken from mutually-related ideas of E.T.A. Hoffmann and Robert Schumann /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11309.

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3

Vezeau, Erica Ablene. "Musical messaging in the early piano correspondence between Clara Wieck and Robert Schumann." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/27068.

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Clara Wieck (1819-96) was a particularly successful nineteenth-century musician. Unlike many of her female contemporaries, and contrary to her social conditioning, she occupied space within the male dominated public sphere of music making, as both a performer and composer. Her participation in dichotomous social realms was unique, and affected the normalcy of her personal life and relationships. Accordingly, during their courtship, Clara Wieck and Robert Schumann (1810-56) were forced to communicate their love through a means that departed from the nineteenth-century norm---music. This thesis argues that many of their early piano works, spanning the decade of the 1830s, were written with some intention of correspondence or message to the other party. Three main conceptual frameworks are employed for musical analysis: firstly, the characteristics of sentiment, social context, mood, and gender as betrayed by genre; secondly, the overt relevance of musical quotation; and finally, the perceived relevance of titles and dedications. Wieck and Schumann's music and courtship is explored herein to determine the extra-musical communicative potential of music for solo piano.

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4

Fernandes, Ana Cristina Pereira. "A música para piano de Clara Schumann: uma perspetiva analítica." Master's thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/16163.

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Este trabalho de projeto foca-se na música para piano de Clara Schumann. Contextualiza as obras da compositora na sua biografia e analisa as formas, tonalidades, texturas, temas e influências usadas na música para piano; ABSTRACT: This research project focuses on the piano music of Clara Schumann. It contextualizes her works within her biography and analyses them in terms of form, key, texture, theme and influence.

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5

Chou, Chllung-Wel. "Aspects of historical background, literary influence, form, and performance interpretation in Robert Schumann's Carnaval." Connect to resource, 1998. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1114437718.

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6

LIN, YUEH-RENG. "THE IMPACT OF THE LIED ON SELECTED PIANO WORKS OF FRANZ SCHUBERT, ROBERT SHUMANN, AND JOHANNES BRAHMS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1101539626.

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7

XU, DONG. "THEMES OF CHILDHOOD: A STUDY OF ROBERT SCHUMANN'S PIANO MUSIC FOR CHILDREN." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1154535932.

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8

Lim, Ahrhim. "The Romances for Violin and Piano by Robert and Clara Schumann: A Comparison and Contextualization." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1543579293352703.

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9

Xu, Dong. "Themes of childhood a study of Robert Schumann's piano music for children /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1154535932.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Nov. 27, 2006). Includes abstract. Keywords: Robert Schumann; Music for Children; Childhood; German Romanticism; Kinderszenen; Album for the Young; Waldszenen; Three Piano Sonatas for the Young; Piano duets. Includes bibliographical references.

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10

Heinemann, Alma. "En fri interpretation : En analys kring olika instruments påverkan på interpretation av Robert Schumanns Adagio und Allegro op. 70 för valthorn och piano." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2993.

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Adagio und Allegro op. 70 är ett stycke för valthorn och piano av Robert Schumann (1810– 1856). Den skrevs 1849 av Schumann, ett år som han ägnade mycket åt att skriva för soloinstrument med piano. Adagio und Allegro finns även utgivet för andra soloinstrument än valthorn, bland annat violoncell, violin, oboe och tuba. Syftet med studien är att utföra en interpretation av Robert Schumanns Adagio und Allegro op. 70 för valthorn och piano som jag vill ha det rent musikaliskt och inte för att jag spelar valthorn. Jag kan uppleva att vi ibland styrs lite för mycket av vilket instrument vi spelar, att det ibland står i vägen för vår musikaliska interpretation. Jag har valt tre instrument jag kommer studera, dessa är valthorn, oboe och cello. Jag har jämfört notutgåvor, med utgångspunkt från min hornutgåva och inspelningar från tre instrumentalister per instrument. Detta för att försöka få en bred bild av hur stycket tolkas på olika instrument. Jag upptäckte att det finns en hel del skillnader mellan notutgåvorna. De flesta av skillnaderna är för att anpassa verket efter det instrument som ska spela. Dock innehöll oboestämman betydligt fler och större nyansskillnader än horn- och cellostämman. Mellan instrumentalisterna jag lyssnade på var det också stor skillnad. Jag upplevde att cellisterna generellt spelade mest uttrycksfullt och expressivt, men också att det varierar från musiker till musiker. Min slutsats av detta är att vi lätt låter vårt instrument styra mer än vi tror över vår interpretation. Dock upplever jag att flera av de modernare instrumentalisterna är lite mer fria än de äldre. Att vi mer och mer söker den tolkning vi vill ha musikaliskt och inte styrs av hur man ”bör” spela. Jag anser att vi går åt rätt riktning.

För fullständig info om examenskonserten, repertoar samt medverkande se bilaga med programmet. I ljudfilen finns endast Adagio und Allegro op. 70 av Robert Schumann med. Där spelar Alma Heinemann valthorn och Katarina Ström-Harg piano. Ljudfilen är från konserttillfället.

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11

Aareskjold, Astri. "Florestan Och Eusebius i Endenich : En konstnärlig studie av Robert Schumanns kreativa genialitet och psykiska ohälsa ur ett källkritiskt perspektiv." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4013.

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In this study, the life and work of Robert Schumann was examined, with the purpose of from a source critical point of view discovering new perspectives on the composer's mental health and creative tools used in his compositions and writings. Furthermore, the study aimed to debunk common misconceptions about Robert Schumann's fate.

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Musca, Lisa Ann. "The piano fragment and the decomposing of the musical subject from the Romantic to the postmodern." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459906541&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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13

Macauslan, John. "Schumann's music and Hoffmann's fictions." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/schumanns-music-and-hoffmanns-fictions(6204c093-4ed6-44c9-b992-08c19f3060e9).html.

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This thesis interprets four of Schumann’s works in the light of the Hoffmann fictions with which they seem to be associated. Unlike previous studies, it deals with each of the four works, treating them as aesthetic entities enhanced by literary relationships that are not primarily programmatic, nor primarily a matter of formal parallels. Each work emerges both in a new light and as it always was. Carnaval (1834-37) appears as a dizzying comedy of theatrical vignettes and character, in the spirit of the German literary understanding of Italian carnival (including in Hoffmann), and Fantasiestücke (1837-38) as a humorous sequence of dream images, resonating with literary tales of the artist’s development, not least those in Hoffmann’s Fantasiestücke. Kreisleriana (1838), a finished masterpiece, suggests improvisations on melodic fragments appearing also in popular tunes used both in trivial variation sets and in Bach’s Goldberg Variations – which figure in Hoffmann’s Kreisleriana as opposed emblems of the philistine and the profound. Nachtstücke (1839-40) creates from plain rondos a paradoxically unsettled set, expressive of profound mental disturbances explored by Hoffmann’s book of that name. I bring out in each work previously unexamined patterns of melody, tonality, metre, sonority and form, showing how these become threads expressive of drama, emotion or symbolism. Unusually, I do not take Schumann’s approach over the 1830s as static: increasingly powerful musical means gave the music greater independence from supporting words, and what Schumann called ‘poetic’ threads increasingly coincide with core musical processes. Equally unusually, I describe those processes as resonating simultaneously with Schumann’s titles, with his culture including Hoffmann, and with his concerns around the time of composition as documented in his letters, criticism, diaries and Mottosammlung. Unlike previous work the thesis treats its subject consistently at three levels. My approach to the interpretation of the individual works at the first level is consonant with Schumann’s aesthetics as described at the second: there I focus more sharply than previous treatments on his stated view that musical works can ‘express’ ‘remote interests’ including literature, and on how he thought that possible – points that, given sensitivity to contemporary connotations and to context, emerge from his writings. Finally, at a third level, I reflect on the approach in the light of strands of musicological and intellectual thought in Schumann’s day and since.

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14

Lau, Pui Yan Ronald. "Two symphonic transcriptions for solo piano: Ferdinand Hiller’s Symphony in E minor, op. 67, “Es muβ doch Frühling werden” (“But spring must come”) and Robert Schumann’s Symphony no. 2 in C major, op. 61." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6787.

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15

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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16

Heinz, Gottfried. "Die Geschichte des Klavierquintetts von den Anfängen bis Robert Schumann." Neckargemünd : Männeles, 2001. http://catalog.hathitrust.org/api/volumes/oclc/47767794.html.

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17

Kobayashi, Noriko. "Robert Schumann : his mental illness and his music /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11352.

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18

Gouveia, Luiz Gustavo Netto. "A música programática de Robert Schumann : Carnaval opus 9." Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13751.

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Mestrado em Música
Este trabalho propõe uma diferente interpretação do Carnaval op.9 de Schumann no âmbito da música programática do Romantismo, buscando a relação mais próxima entre as peças que constituem a obra e as figuras e alusões nela representadas pelo compositor. Tencionei realizá-lo dentro do contexto histórico da época em que a obra foi composta, a fim de criar também um material historicamente informado que contribua para a otimização interpretativa do repertório schumanniano. O estudo é apresentado em forma única. Possui uma contextualização do compositor e explicação sobre a obra, logo em seguida são apresentadas as sugestões interpretativas para cada uma das vinte e duas peças do Carnaval op.9. A investigação possui também um objetivo secundário que é fornecer ideias que estão além da partitura.

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19

Reiman, Erika Lynne. "Schumann's piano cycles and the novels of Jean Paul /." Rochester (N.Y.) : University of Rochester press, 2004. http://catalogue.bnf.fr/ark:/12148/cb391402783.

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20

Vachon, Pierre. "Essai de titrologie musicale : Carnaval, op. 9, Kreisleriana, op. 16, et autres titres d'oeuvres pour piano seul de Robert Schumann /." [Montréal] : Université de Montréal, 2003. http://wwwlib.umi.com/cr/umontreal/fullcit?pNQ92775.

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Thèse (Ph.D.) -- Université de Montréal, 2004.
"Thèse présentée à la Faculté des études supérieures en vue de l'obtention du grade de Docteur en musicologie (Ph.D.)" Version électronique également disponible sur Internet.

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21

Mott, Maxine Elizabeth. "The choral works of Robert Schumann (1810-56)." Thesis, University of Birmingham, 1991. http://etheses.bham.ac.uk//id/eprint/261/.

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Schumann's choral music provides a focus for an account of his later compositional career. Various original contributions to research are made. The Handelian influence behind his early choral writing is identified in Das Paradies und die Peri. An account of Schumann's choral societies gives an insight into the smaller-scale works. The Manfred music and the Corsar fragment show his use of melodrama. The Faustscenen are illuminated by the occasions which inspired them, especially the 1849 Goethe Festival. The unachieved oratorio Luther is described; and in Der Rose Pilgerfahrt the Biedermeier influence on Schumann is demonstrated. The Mass and Requiem show his response to Dusseldorf liturgical practice, and the four choral ballads stand on the threshold of opera, if not music drama. Consideration of Schumann's libretti shows his obsession for a type of redemption drama, possibly influenced by his struggle in the late 1830s to marry Clara Wieck. Appendices contain a worklist and select list of MS. sources; relevant diary entries; synopses of the narrative works; transcriptions of unpublished or unavailable works from 1847 and 1848; a transcription of Schumann's Luther scenario; the repertoire of his choral societies; and information on the size of his orchestra.

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22

KOSTRABA, GREGORY CHRISTIAN. "THE FIRST PIANO TRIO BY ROBERT MUCZYNSKI." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1048094945.

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23

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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24

Nemko, Deborah Gail. "Clara Schumann as innovator and collaborator: The Piano Trio in G minor, Op. 17." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/282380.

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This paper traces the musical development of pianist and composer Clara Schumann (1819-1896) leading to the composition of the Piano Trio, Op. 17, one of her most significant works. Like her to contemporaries, the virtuosi Anton Rubinstein and Sigismond Thalberg, Clara Schumann was a gifted pianist and one of the leading musicians of her day. Until recently, little was known about her role as a composer, and her works were consistently relegated to the domain of the "salon." The musical collaboration between Clara and Robert Schumann was productive due both to the close nature of their relationship and their mutual respect for each other's musicianship. Throughout their lives, they developed a lively artistic exchange which included borrowing musical materials from each other. Not coincidentally, the first Piano Trio of Robert Schumann, a work of substantial craftsmanship, bears a strong musical resemblance to Clara's Piano Trio, Op. 17, written one year earlier. In addition, to aid the performer unfamiliar with the Piano Trio, a discussion of performance considerations is included

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25

Lin, Kung-Chin. "Les variations dans la musique pour piano de Robert Schumann : contexte, style, perspectives pour l'interprétations." Paris 8, 2000. http://www.theses.fr/2000PA081703.

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C'est en tant que concertiste que nous avons mene des recherches sur l'architecture secrete des oeuvres pour piano de robert schumann. En choisissant - et en nous limitant - aux oeuvres pianistiques de schumann construites sur le modele theme et variations, notre but a ete d'envisager ensuite, armee d'une methodologie adaptee a ce style tres original d'ecriture pianistique, la poursuite de notre travail sur l'ensemble du corpus. Dans le premier chapitre, nous avons envisage les differentes sources, tant musicales que litteraires, qui ont alimente son inspiration de musicien. Dans un deuxieme chapitre, nous avons mene des investigations sur les differentes composantes techniques qui constituent les dimensions particulieres de son style : l'harmonie - la partie la plus originale de son ecriture de compositeur - le traitement tres complexe du rythme et les specificites du traitement thematicolineaire lui permettant la construction des formes. Dans le troisieme chapitre, nous avons mene une analyse detaillee des grandes oeuvres pianistiques de schumann sur le modele theme et variations. Il s'agit des variations abegg, opus 1, des impromptus sur un theme de clara schumann, opus 5, des douze etudes symphoniques (ou etudes en forme de variations), opus 13 et le troisieme mouvement de la troisieme grande sonate, opus 14. Au cours de ce chapitre, nous avons ete amenee a comparer les differentes editions, etude dans certains cas particulierement delicate, comme par exemple celle touchant a l'opus 13, oeuvre qui a fait l'objet de plusieurs editions et reeditions non seulement du vivant du compositeur, mais aussi apres sa disparition. Enfin, dans le 4e et dernier chapitre, nous avons mene une reflexion sur certains elements techniques participant de l'interpretation ; et nous avons compare entre elles plusieurs executions des oeuvres de schumann par de grands pianistes internationaux, en faisant part de nos propres commentaires de concertiste a propos de ces interpretations.

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26

Gomes, Carlos Tony Pereira. "Robert Schumann - Phantasiestücke para clarinete e piano op. 73 - Uma outra voz, a mesma música -." Master's thesis, Universidade de Évora, 2010. http://hdl.handle.net/10174/15973.

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Robert Schumann, Phantasiestücke para clarinete e piano op.73 - Uma outra voz, a mesma música Este Trabalho de Projecto encontra-se organizado em duas partes: investigação e elaboração de um trabalho escrito sobre a obra Phantasiestücke para clarinete e piano op.73 de Robert Schumann. Dividido em quatro capítulos, o estudo sobre as Phantasiestücke para clarinete e piano op.73 visa contribuir para a interpretação da obra referida. Assim sendo, o primeiro capítulo é dedicado ao compositor para uma melhor contextualização quanto ao criador e as condições em que foi criada. Num segundo capítulo irei abordar o compositor que transcreveu a obra para violoncelo, neste caso o violoncelista Friedrich Grützmacher, para uma melhor compreensão sobre o porquê e a necessidade de transcrever esta obra. O terceiro capítulo é todo ele dedicado à análise formal e interpretativa da obra para reforçar as bases sobre a obra; ABSTRACT: This project work is organized into two parts: research and development of a work written about the work Phantasiestücke for clarinet and piano Op.73 by Robert Schumann. Divided into four chapters, the study on Phantasiestücke for clarinet and piano Op.73 contributing to the interpretation of that work. Thus the first chapter is devoted to the composer for a better contextualization as the creator and the conditions under which it was created. In the second chapter I will address the composer who transcribed the piece for cello, in this case the cellist Friedrich Grützmacher to a better understanding about the meaning for transcribing this work. The third chapter is all of it dedicated to formal analysis and interpretation of the work to strengthen the foundations of the work.

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27

Ankele, Gabriele, and Heidrun Renger. "Zum 200. Geburtstag Robert Schumanns." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61312.

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Die Musikbibliothek Bautzen widmet sich jedes Jahr einem Jubilar. Das Jahr 2010 steht ganz im Zeichen des 200. Geburtstages von Robert Schumann. Es werden Ausstellungen gestaltet und Neuerscheinungen seiner Werke präsentiert. Höhepunkt ist eine gemeinsame Lesung mit Musik mit der Kreismusikschule Bautzen.

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28

Rozanski, Rudy Mark. "Thematic unification in Robert Schumann's Fantasia, op. 17." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/29228.

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Many have criticized Schumann's compositional style as being incompatible with sonata form. For example, his Fantasia, Op. 17 appears to be a series of cleverly interactive themes which, by virtue of their poetic diversity and dramatic momentum, manage barely to function within the confines of a quasi-sonata form. Schumann's discomfort, some would say, is made evident by the absence of developmental sections in the outer two movements, by the invasion of literary and musical quotation, and even by the rhetorical presentations of his too lyrical themes. Such appraisals focus on that which is absent or unusual, ignoring the inherent craftsmanship and masterful motivic manipulation exhibited throughout the Fantasia. Schumann does not explore and reveal the latent energy in a collection of motives; rather, he varies, transforms, mutates and metamorphizes a few cellular ideas into a collage of richly diversified themes, all of which bear the stamp of these "genetic" cells. Much of the musical momentum in the Fantasia derives its energy from the surface interplay of those themes; thus the engine of the form is more closely akin to variation and cyclic techniques than to those involving thematic development. The essential purpose of this paper is to explore thematic processes in Schumann's Fantasia, these being fundamental to the language of the work. The paper also encompasses a history of the fantasia genre, an overview of Schumann's aesthetics, and a brief discussion of the Fantasia's structure.
Arts, Faculty of
Music, School of
Graduate

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29

Martin, Alexander. "A schenkerian approach to text-music relations in selected lieder by Robert Schumann." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45017.

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This is an analytical and interpretive study of selected songs by Robert Schumann. In it, I showcase some of the possible ways that concepts in Schenkerian analysis can reveal interesting, hidden, or new text-music relations. These relations, in turn, allow for new and imaginative interpretative possibilities. I demonstrate how specific Schenkerian analytical findings resonate with structures, imagery, and meaning in the poetic text of seven songs. Three songs are presented as individual case studies and each exemplify how a musical structure can take on the status of musical metaphor for a feature in the text. In “Sängers Trost” (Op. 127, no. 1), I show how tension and release in the poetry correspond to rising and falling linear progressions and that a motive introduced in the accompaniment is transformed at the vocal highpoint. In “Frühlingslust” (Op. 125, no. 2), I show how the binary opposition between freedom and imprisonment—respectively represented by a butterfly and love in the text—is dramatized in the song’s tonic-dominant polarity, and how voice-leading techniques (superposition, cover tone, and register transfer) characterize the butterfly’s carefree flight. In “Die Meerfee” (Op. 15, no. 3), I investigate how an exotic chromatic voice-exchange, within what is revealed to be a dramatic elaboration of a middleground neighbour note figure, captures the wonder and confusion experienced by a young boy who witnesses a sea fairy. In a chapter on the Vier Husarenlieder Op. 117, I discuss how the four songs in the collection cohere poetically and musically. A reaching-down gesture (Untergreifung) in “Der Husar!” provides access to a solemn facet of the Hussar’s personality and contrasts with his cultivated bravura. In “Der leidige Frieden,” an octave transfer of 2 ̂/V embodies the role-reversal between the Hussar and his saber. I discuss how the Hussar’s conflation of civilian and military life relates to the song’s formal organization in “Den grünen Zeigern.” Lastly, I show how the transference of the Urlinie from the voice to the accompaniment resonates with the image in the text of the Hussar galloping away on horseback.

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30

Yoo, Hyun Hanna. "The survey of Robert Schumann his artistry in the context of 19th century music /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3165.

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31

Lin, Yueh-Reng. "The impact of the lied on selected piano works of Franz Schubert, Robert Schumann, and Johannes Brahms." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1101539626.

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32

Ringer, Rebecca Scharlene. "Beyond the "Year of Song": Text and Music in the Song Cycles of Robert Schumann after 1848." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3622.

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33

Yang, Yang. "The love motion in a minor piano concerto op. 54 and variations on the theme by R. Schumann op. 20." Master's thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/22585.

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Mestrado em Música
This thesis aims to research the role of music as an emotion expressed in motion. Based on the study of two pieces: Robert Schumann’s A minor Piano Concerto Op.54 and Clara Schumann’s Variations on a theme by Robert Schumann Op. 20, I explore the emotion of love between Robert and Clara Schumann throughout their lives, verifying the emotion of love as related to their musical creativity. Another important aim of this thesis involves my interpretation and playing experience of these two compositions. I obtain my understanding of the musical moods and meaning enriching my imagination, which translates through the aural senses to the kinetic body movements, culminating in the real musical sound and its emotional expression.
Esta tese tem como objetivo pesquisar o papel da música como emoções expressas em movimento. Baseado nos dois objetos de estudo: Concerto de Piano em Lá menor Op. 54 de Robert Schumann e Variações sobre a Tema de Robert Schumann Op. 20 de Clara Schumann, exploro a emoção de amor entre Robert e Clara Schumann em suas vidas. Verifico que esta emoção de amor está sempre relacionada com as criatividades musicais dos dois. Outro objetivo importante envolve a minha interpretação e a experiência de tocar nessas duas composições. Tento alcançar o meu entendimento sobre os espíritos e significados musicais das obras para enriquecer a minha imaginação. Esta última vem através da sensação auditiva para os movimentos cinéticos do corpo e, finalmente alcança a uma verdade sonoridade musical e a sua expressão emocional.

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Roy, Adam. "Music in Motion: A Metaphoric Mapping of Forces in Piano Concertos by Mozart and Schumann." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/33009.

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In this thesis, I demonstrate the dynamic way in which musical processes can be described as metaphors. Using Steve Larson’s three main metaphors (gravity, inertia, and magnetism) as a starting point, I propose additional metaphors (friction, repulsion, momentum, wave, orbit, and oscillation) to analyze the first movements of Mozart’s Piano Concerto No. 20 in D minor, K 466 and Schumann’s Piano Concerto in A minor, op. 54. These metaphors provide a means to discuss points of convergence and divergence between the Classical style and the early-Romantic style. Additionally, most theorists of the energeticist tradition only discuss motion through prose; I introduce a way to represent these metaphors as musical examples. By focusing on the listener’s experience through musical motion, the model proposed in this thesis is useful, not only for the theorist, but for all who wish to communicate ideas about music in a dynamic way.

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Wang, Xiao (Pianist). "First Movement of Robert Schumann's Piano Sonata Op. 14 in F Minor from the Performer's Perspective: An Analytical Study of Four Editions." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157568/.

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The objective of this dissertation is to review the discrepancies between Concert Sans Orchestre and Grande Sonate edited by Ernst Herttrich, Grosse Sonate No.3 Op.14 Erste and Zweite Ausgabe edited by Clara Schumann of Robert Schumann's No.3 Op.14, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as notes, rhythms, metronome marking and expression signs is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Suggested solutions are followed by each example.

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Ahn, Joel 1957. "A Stylistic Evaluation of Charles Valentin Alkan's Piano Music: a Lecture Recital, together with Three Recitals of Selected Works of J.S. Bach, Beethoven, Brahms, Liszt, Schumann, and Villa-Lobos." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332384/.

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Charles Valentin Alkan (1813-1888), one of the great genii in music history, was widely misunderstood by his contemporaries because of his highly idiosyncratic ideas. From the perspective of the late twentieth century, his innovations can be better understood, and his music is now gaining wider appreciation. Yet, today many musicians still do not know even his name, much less his achievements. The year 1988 marks the one hundredth year since his death. In commemoration of this centennial anniversary, this thesis is presented as a plea for a greater awareness of the achievements of this important figure in the development of piano music.

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Iorio, André Luiz. "Música e psicose em Robert Schumann: abordando o encontro de duas fenomenologias." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/15906.

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Made available in DSpace on 2016-04-28T20:40:15Z (GMT). No. of bitstreams: 1 Andre Luiz Iorio.pdf: 21607129 bytes, checksum: bc5704eede7b59e10ef459de07dc5a27 (MD5) Previous issue date: 2010-05-12
The author tries to approach the relation between Robert Schumann‟s life, his musical works and his psychosis. An extensive phenomenological analysis has been developed involving the letters from his youth to maturity, his personal diary and wedding diary and his musical scores. In methodological terms, the author relates the phenomenology of music and an existential phenomenological analysis. Concerning the phenomenology of music, the text is focused on the tradition of phenomenological aesthetics which includes authors as Merleau-Ponty, Mikel Dufrenne and Thomas Clifton. Concerning the existential phenomenological approach, the author tries to build a dialogue with early twentieth century phenomenological psychiatric tradition involving Karl Jaspers, Eugene Minkowski and Ludwig Binswanger. Musical analysis starts from objective analysis and culminates in the development of a phenomenological approach with special emphasis to corporality, materiality, time, space and pathos. The author concludes that Schumann‟s music expresses the hidden forces that were always present in his tormented life
O autor tenta abordar a relação entre a vida de Robert Schumann, suas obras musicais e sua psicose. Uma extensa análise fenomenológica foi realizada envolvendo as correspondências (cartas) desde sua juventude até a maturidade, seu diário pessoal e de casamento e suas partituras. Em termos metodológicos, o autor relaciona a fenomenologia da música com uma análise fenomenológico existencial. No que diz respeito à fenomenologia da música, o texto está focado na tradição da estética fenomenológica que inclui autores como Merleau-Ponty, Mikel Dufrenne e Thomas Clifton. No que diz respeito à abordagem existencial fenomenológica, o autor tenta construir um diálogo com a tradição da fenomenologia psiquiátrica do início do século XX envolvendo Karl Jaspers, Eugene Minkowski e Ludwig Binswanger. A análise musical começa a partir da análise objetiva e culmina com o desenvolvimento de uma abordagem fenomenológica, com ênfase especial à corporalidade, materialidade, tempo, espaço e pathos. O autor conclui que a música de Schumann expressa as forças escondidas que estavam sempre presentes em sua vida atormentada

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Kong, Won-Young. "Paul Wittgenstein's Transcriptions for Left Hand: Pianistic Techniques and Performance Problems : A Lecture Recital, Together with Three Recitals of Selected Works of R. Schumann, S. Prokofiev, F. Liszt, M. Ravel, and F. Chopin." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935633/.

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Paul Wittgenstein (1887-1961) made significant contributions to the piano literature for the left hand through numerous commissioned works as well as his own transcriptions. In the transcriptions, Wittgenstein preserved the texture of two-hand music, aiming for the simulation of the original works. This requires special techniques in the performance by the left hand alone. This dissertation investigations technical means and performance problems associated with the transcriptions as well as Wittgenstein's own recordings of selections from his works. Chapter 1 serves as an introduction, providing a historical overview of the role of the left hand in two-hand piano literature. Chapter 2 gives biological information on Paul Wittgenstein and discusses the commissioned works. Chapter 3 investigates special techniques in the transcriptions, in the areas of arpeggios, widespread chords, fingering, pedaling, and others. Chapter 4 discusses Wittgensteins's performance style based on his recordings. Chapter 5 presents a conclusion pointing to the benefits of performing left-hand music in two-hand piano playing.

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Cummings, Ronn (Ronn Thomas). "Analysis of the Re-Orchestrations of Robert Schumann's Four Symphonies Employed by Felix Weingartner: With Four Recitals of Selected Works by Schumann, Beethoven, Tchaikovsky, Poulenc, Bizet, Rossini, and Chabrier." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935814/.

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An analysis of re-orchestrations of Robert Schumann's four symphonies employed by conductor Felix Weingartner (1863-1942). The text includes a brief history of Schumann's orchestral writing career and an overview of Weingartner's life as a conductor. The bulk of the dissertation discusses actual changes suggested by Weingartner (with score examples). Patterns of modifications are identified and discussed as they relate to historically entrenched problems perceived with Schumann's originally employed practices of orchestration. The analysis focuses on overall patterns of alteration imposed by Weingartner and their perceived effectiveness in achieving a noticeably improved aural outcome.

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GROBLER, SOPHIA. "THE LIFE AND DEATH OF THE PIANO WALTZ." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1178574183.

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Naumann, James A. "Structuring the Infinite: Irony and Multivalency in Robert Schumann’s Humoreske, Op. 20." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338400324.

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Tsu, Ming. "A guide to contemporary piano repertoire for the developing student : interpretive suggestions for selected works by Robert Starer and Seymour Bernstein /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11201.

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Fuchs, Sampson Sarah E. "Recasting the eighteenth-century sonata-form narrative : compositional strategies in Robert Schumann's Opp. 105 and 121 violin sonatas." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1567411.

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Although Robert Schumann’s late style has been the subject of several probing studies in recent years, few scholars have concentrated their attention on the chamber works composed in the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the same rhetorical and structural elements. Throughout both movements, however, Schumann uses an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to recast the internal workings of these outwardly conventional sonata forms. As he uses these techniques to undermine important structural moments of each movement, Schumann significantly changes the overall plot of the eighteenth-century sonata form, while also demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works.
School of Music

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Elfline, Robert P. ""A Kind of composition that does not yet exist": Robert Schumann and the rise of the spoken ballad /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1179353794.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.
Advisor: Dr. Bruce D. McClung. Title from electronic thesis title page (viewed Nov. 28, 2007). Includes abstract. Keywords: melodrama; narrator; Schumann; lizst; strauss; ballad. Includes bibliographical references.

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Koch, Juan Martin. "Das Klavierkonzert des 19. Jahrhunderts und die Kategorie des Symphonischen : zur Kompositions- und Rezeptionsgeschichte der Gattung von Mozart bis Brahms /." Sinzig : Studio, 2002. http://catalogue.bnf.fr/ark:/12148/cb389721514.

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VAN, DYKE RICHARD GERARD. "TRACING THE STYLISTIC ELEMENTS OF ROBERT STARER'S PEDAGOGICAL WORKS TO THE TWILIGHT FANTASIES AND SONATA FOR PIANO, NO. 3." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195669172.

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Oh, Joo Young. "An Introduction to Selected Character Pieces for Piano by Robert Muczynski." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/596103.

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Robert Muczynski (1929-2010), composer, pianist, and educator, is a noteworthy American musician from our time. His prowess as a pianist undoubtedly accounts for the striking number of pieces he wrote for the piano, namely, one concerto, preludes, sonatas, suites, a toccata, and variations. Out of a total of forty-eight pieces with opus numbers, seventeen are for solo piano. This document contains an overview of Muczynski's life as a composer and musician, with an emphasis on his solo piano compositions. The body of the document traces sources of Muczynski's compositional style, especially the influence of Alexander Tcherepnin, his composition teacher and mentor, and Sergei Prokofiev. An analysis of some of Muczynski's shorter piano solo pieces follows: Six Preludes, op. 6, Suite for Piano, op. 13, and Toccata, op. 15. This analysis demonstrates that Muczynski's short piano pieces often exhibit a persistent focus on one generative musical idea within each piece, usually consisting of unifying etude-like material. For variety and color, he relies on frequent changes of metric pulse, sudden accents, highly chromatic harmony and melody, and an extreme range of sound. These stylistic traits are consistent with those previously identified by other scholars in his larger piano compositions.

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Gaarder, Renee Danielle. "Schumann's Op. 25: Finding the Narrative Within." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3438.

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Many of the song cycles written by Schumann have been studied over the years and it is well known that his most prolific time of song production was the year 1840. Myrthen, Op. 25, has been studied less than some of his other cycles because it calls into question the modern view of the song cycle and for this reason is difficult to classify. What is most difficult about the classification of Op. 25 is that there is no immediately apparent narrative. In addition, the musical relationships which exist are usually considered to be of little consequence. What scholars are left with is a group of songs that in Schumann's mind constituted a song cycle but to the modern eye seems to be anything but. The most prevalent view concerning the organization of Op. 25 is that it is a collection of songs. Given his view of Lieder and his compositional process, in addition to the fact that it was presented to Clara as a wedding gift, I believe that Schumann had a specific organization in mind for this work. In this thesis I argue that due to the way in which Schumann conceived of and composed song cycles, the musical relationships are not what bind Op. 25 together although these relationships do exist. Instead, the organization hinges mainly on the text which represents a narrative of the relationship between Robert and Clara, which differs from the modern view of what classifies a group of songs as a cycle.

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Shimizu-Grow, Rina. "Selected Original Piano Solo Works of Robert Boury: Emphasis on Performance and Practice Suggestions." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1322055700.

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Sarsany, Timothy David. "Robert Schumann’s Part-Songs for Men’s Chorus and a Detailed Analysis of Fünf Gesänge (Jagdlieder), opus 137." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275078671.

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Dissertations / Theses on the topic 'Robert Schumann piano music'

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