Relevant bibliographies by topics / Schumann, Robert, Music Music and youth

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

Academic literature on the topic 'Schumann, Robert, Music Music and youth'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Schumann, Robert, Music Music and youth"

1

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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Lester, Joel. "Robert Schumann and Sonata Forms." 19th-Century Music 18, no. 3 (1995): 189–210. http://dx.doi.org/10.2307/746684.

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JENSEN, ERIC FREDERICK. "Norbert Burgmüller and Robert Schumann." Musical Quarterly 74, no. 4 (1990): 550–65. http://dx.doi.org/10.1093/mq/74.4.550.

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Ferris, David. "Robert Schumann, Composer of Songs." Music Analysis 32, no. 2 (July 2013): 251–82. http://dx.doi.org/10.1111/musa.12014.

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Lester, Joel. "Robert Schumann and Sonata Forms." 19th-Century Music 18, no. 3 (April 1995): 189–210. http://dx.doi.org/10.1525/ncm.1995.18.3.02a00020.

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Draheim, Joachim. "Schumann-Erstdrucke." Die Musikforschung 46, no. 1 (September 22, 2021): 53–60. http://dx.doi.org/10.52412/mf.1993.h1.1143.

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Diese Bibliographie verzeichnet Erstdrucke von Kompositionen Robert Schumanns (neben vollständigen Werken auch längere Skizzen, Früh- und Alternativfassungen), die nicht in den Arbeiten von Kurt Hofmann und Siegmar Keil erfaßt sind. Die wichtigsten sind: "Der Korsar" , die Klavierbegleitung zur Suite III C-Dur für Violoncello solo von Bach , die Violinfassung des Cellokonzerts a-moll op. 129 und der Konzertsatz d-moll für Klavier und Orchester. (Autor)
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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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Boetticher, Wolfgang. "frühe Klavierquartett c-moll von Robert Schumann." Die Musikforschung 31, no. 4 (September 22, 2021): 465–67. http://dx.doi.org/10.52412/mf.1978.h4.1813.

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Hallmark, Rufus, Dietrich Fischer-Dieskau, and Reinhard G. Pauly. "Robert Schumann: Words and Music-The Vocal Compositions." Notes 47, no. 1 (September 1990): 55. http://dx.doi.org/10.2307/940537.

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Hallmark, Rufus. "The Rückert Lieder of Robert and Clara Schumann." 19th-Century Music 14, no. 1 (1990): 3–30. http://dx.doi.org/10.2307/746673.

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Dissertations / Theses on the topic "Schumann, Robert, Music Music and youth"

1

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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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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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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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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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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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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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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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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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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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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Books on the topic "Schumann, Robert, Music Music and youth"

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Robert und Clara Schumann: Romantische Entdeckungen. Petersberg: Imhof, 2010.

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Robert Schumann, words and music: The vocal compositions. Portland, Or: Amadeus Press, 1988.

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Internationales Schumann-Symposion (5th 1994 Düsseldorf, Germany). Robert Schumann und die französische Romantik: Bericht über das 5. Internationale Schumann-Symposium der Robert-Schumann-Gesellschaft am 9. und 10. Juli 1994 in Düsseldorf. Mainz: Schott, 1997.

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Robert Schumann and the piano concerto. New York: Routledge, 2005.

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Robert Schumann als Pädagoge in seiner Zeit. Berlin: Köster, 1997.

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Bianchi, Sergio. Le Kinderszenen di Robert Schumann: Proposta per un percorso analitico. Treviso: Ass. musicale "Ensemble '900", 1995.

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Rethinking Schumann. New York: Oxford University Press, 2011.

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Krebs, Harald. Fantasy pieces: Metrical dissonance in the music of Robert Schumann. New York: Oxford University Press, 1999.

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Malvano, Andrea. Voci da lontano: Robert Schumann e l'arte della citazione. Torino: EDT, 2003.

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Voci da lontano: Robert Schumann e l'arte della citazione. Torino: EDT, 2003.

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Book chapters on the topic "Schumann, Robert, Music Music and youth"

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Brendel, Franz. "Robert Schumann with Reference to Mendelssohn-Bartholdy and the Development of Modern Music in General." In Mendelssohn and His World, edited by R. Larry Todd, 341–51. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831623.341.

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"ROBERT SCHUMANN." In The Classical Music Lover's Companion to Orchestral Music, 677–92. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.55.

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"Robert Schumann (1810–1856)." In Music Analysis in the Nineteenth Century, 161–94. Cambridge University Press, 1994. http://dx.doi.org/10.1017/cbo9780511470257.014.

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Steinberg, Reinhard. "Robert Schumann in the psychiatric hospital at Endenich." In Music, Neurology, and Neuroscience: Historical Connections and Perspectives, 233–75. Elsevier, 2015. http://dx.doi.org/10.1016/bs.pbr.2014.11.009.

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Tadday, Ulrich. "Life and literature, poetry and philosophy: Robert Schumann's aesthetics of music." In The Cambridge Companion to Schumann, 38–47. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521783415.003.

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Thym, Jürgen. "Reading Poetry Through Music." In The Songs of Fanny Hensel, 195–216. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0011.

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In an extension of Stephen Rodgers’s efforts to turn “an analytical lens” on Fanny Hensel, this chapter focuses on selected Hensel settings whose texts have also inspired other composers: “Verlust” after Heine (“Und wüssten’s die Blumen”), also set by Robert Schumann and Robert Franz; “Frühling” (Eichendorff) with Schumann’s and Curschmann’s “Frühlingsnacht” as companions; and “Du bist die Ruh” (Rückert), also set by Schubert (and many others). In order to avoid comparing stylistically incompatible settings, the selection has been limited to Lieder between ca. 1825 and ca. 1850. Taking stock of Hensel’s interpretations and comparing them with those of other composers will allow musicologists and music theorists to assess her place in the history of the Lied in the first half of the nineteenth century.
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"Exploring Metareference in Instrumental Music – The Case of Robert Schumann." In Metareference across Media: Theory and Case Studies, 235–57. Brill | Rodopi, 2009. http://dx.doi.org/10.1163/9789042026711_009.

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"Schumanniana No. 4· The Present Musical Epoch and Robert Schumann's Position in Music History (1861)." In Schumann and His World, 362–74. Princeton University Press, 1994. http://dx.doi.org/10.1515/9781400863860.362.

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"History, Rhetoric, and the Self: Robert Schumann and Music Making in German-Speaking Europe, 1800-1860." In Schumann and His World, 3–46. Princeton University Press, 1994. http://dx.doi.org/10.1515/9781400863860.3.

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"Robert Schumann with Reference to Mendelssohn-Bartholdy and the Development of Modern Music in General (1845)." In Schumann and His World, 317–37. Princeton University Press, 1994. http://dx.doi.org/10.1515/9781400863860.317.

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Conference papers on the topic "Schumann, Robert, Music Music and youth"

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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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Marx, Tobias, and Martin Lissner. "Thüringer Musikszene – Jugendmusikredaktionen als außerschulische musikbezogene Bildungskontexte." 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/10.25366/2020.64.

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This contribution addresses a music editorial youth project in the context of extracurricular music education: Where and in which manner does musical education take place, particularly regarding music journalism? Opportunities for music journalism do not so much arise in schools or music schools but rather in actively used leisure time. The present study examines the motivation of participants in relation to their peers, host organisations, and project tutors. The concept of serious leisure perspective (Robert A. Stebbins) delivers the frame to discuss the results of the study.
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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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