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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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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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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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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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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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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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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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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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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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Previous issue date: 2010-05-12The 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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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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Jacques, Claudine. "Gender transitivity in three dramatic works by Robert Schumann: the «Szenen aus Goethes» Faust (WoO 3), «Genoveva» op. 81, «Das Paradies und die Peri» op. 50." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103613.
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This dissertation is a study of gender transitivity as I see it at work in three of Robert Schumann's dramatic works: the Szenen aus Goethes Faust, WoO 3, the opera Genoveva op. 81, and the oratorio Das Paradies und die Peri op. 50. In this study, I use the term gender transitivity to refer to the fluid movement along feminine and masculine subject positions. While on the surface Schumann created seemingly passive, Gretchen-like female characters in his dramatic works, he also worked with pluralistic ideas about gender drawn from his extensive knowledge of early nineteenth-century literature and philosophy. He explored alternative femininities and masculinities for fictional characters in his works, acknowledging the transitive or fluid nature of gender concepts as theorized by Romantic writers. I argue that Clara Schumann, at once a strong woman active in the public sphere and yet reiterating stereotypes of proper feminine behaviour, blurred categories of gender and thus, provided for her husband a fitting model for the three female characters discussed below. For my analysis, I use a wide range of critical theories on gender such as psychoanalysis and the semiotic chora (Julia Kristeva), literary constructions of gender (Barbara Becker-Cantarino), androgyny (Sara Friedrichsmeyer), bi-gendrism (Mary R. Strand), bisexuality (Alice Kuzniar), specular reciprocity and gender hybridity (Tacey A. Rosolowski), feminine writing (Luce Irigaray, Martha Helfer), gender synergy (Lawrence Kramer, Elizabeth Morrison), the cry (Michel Poizat) and the narrative voice (Carolyn Abbate, Paul Robinson). What I call gender transitivity is enabled by these concepts, which have been developed by scholars of feminist and gender studies to analyze the blurring, flexibility and mobility of gender boundaries in sources from the first half of the nineteenth century. The first part of this dissertation consists of two chapters. Chapter One provides a literature review and my methodological apparatus, drawn from contemporary feminist critiques of German romantic philosophy and literature. Next, I focus on Schumann's views on gender in his writings and other sources from the mid-1820s to his death in 1856. The remainder of this chapter finally critically examines three common literary archetypes: women as redemptive figures, women as suffering images of the Virgin Mary, and women as angelic figures. Ultimately, these archetypes are male fabrications, presenting women as passive and idealized. However, they have strength and power in their own ways. Chapter Two studies the figure of Clara Schumann, her multiple roles as pianist, composer, mother, wife and muse. I argue that Clara, who on one level embodied for her husband a deeply romanticized, idealized Goethean archetype of the "Eternal feminine," was also a strong, assertive woman active in the public sphere, who assumed unconventional gender roles. Schumann modified the stereotype by toning down (but without omitting altogether) some of its more stereotypical elements. The three chapters in the second part of my dissertation are intended as case studies that demonstrate how Schumann's dramatic works reflect his multifaceted views on gender as expressed in his letters, diaries and criticism. I present close literary and musical analyses of three dramatic works, focusing on important scenes in each. I read three female characters (Gretchen, Genoveva, and the Peri) through the lenses of gender transitivity in order to convey their complexity in these works, as well as to provide insights into little-investigated aspects of their psychological development.Cette thèse est une étude de la transitivité du genre dans trois œuvres dramatiques de Robert Schumann: les Szenen aus Goethes Faust, WoO 3, l'opéra Genoveva op. 81, et l'oratorio Das Paradies und die Peri op. 50. J'emploie le terme transitivité du genre en référence à un mouvement fluide entre une position féminine et masculine du sujet. Bien que Schumann semble avoir créé des personnages féminins passifs, à l'image de Gretchen, dans ses œuvres dramatiques, il fut également influencé par une conception pluraliste du genre, de par sa connaissance étendue de la littérature et de la philosophie du 19e siècle. Il a exploré pour ses personnages fictifs des féminités et masculinités alternatives, en tenant compte de la nature transitive et fluide du genre, telle que mise en théorie par divers auteurs romantiques. Je suggère que Clara Schumann fut à la fois une femme forte et active dans la sphère publique, et réitérant les stéréotypes pour une conduite féminine convenable, mêlant les catégories du genre et ainsi, procura à son mari un modèle approprié pour les trois personnages féminins discutés plus bas. Pour mon analyse, j'ai utilisé un large éventail de théories concernant le genre telles que la psychoanalyse et le sémiotique (Julia Kristeva), la construction littéraire du genre (Barbara Becker-Cantarino), l'androgynie (Sara Friedrichsmeyer), le bi-gendrisme (Mary R. Strand), la bisexualité (Alice Kuzniar), la réciprocité spéculaire et l'hybridité du genre (Tacey A. Rosolowski), l'écriture féminine (Luce Irigaray, Martha Helfer), la sygergie du genre (Lawrence Kramer), le cri (Michel Poizat) et la voix narrative (Carolyn Abbate, Paul Robinson). Ce que je nomme transitivité du genre est facilité par ces concepts, développés par les études féministes et du genre afin d'analyser la flexibilité et mobilité des limites du genre dans les sources de la première moitié du 19e siècle. Ces théories féministes, en faisant fi des oppositions binaires du genre, aident à mettre au jour le pouvoir féminin dans les œuvres artistiques et théoriques. La première partie de cette thèse comprend deux chapitres. Le premier présente une revue de la littérature et le cadre méthodologique, provenant de théories féministes contemporaines concernant la philosophie et la littérature allemandes. J'examine ensuite la pensée de Schumann sur le genre présente dans ses écrits et diverses sources, de 1825 jusqu'à sa mort en 1856. J'examine ensuite trois archétypes littéraires: la femme en tant que figure rédemptrice, incarnation de la Vierge Marie, et figure angélique. Ces archétypes, issues de l'imaginaire masculin, présentent les personnages féminins comme passifs et idéalisés. Pourtant, elles possèdent également force et pouvoir. Le chapitre deux étudie Clara Schumann et ses roles multiples (pianiste, compositrice, mère, épouse et muse). Clara, qui incarne aux yeux de son mari l'idéal Goethéen romantique de l'éternel féminin, fut également une femme active dans la sphère publique, qui a remis en question le stéréotype oppressif en assumant des roles non conventionnels. Grâce à son influence, Schumann a modifié le stéréotype en modifiant certains de ses éléments les plus oppressifs. La deuxième partie de cette thèse sont trois études de cas, démontrant de quelle manière les œuvres dramatiques de Schumann reflètent sa vision complexe du genre. Je présente une analyse musicale et littéraire approfondie de trois œuvres dramatiques, en mettant l'emphase sur les scènes importantes de chacune. J'analyse les trois personnages féminins (Gretchen, Genoveva, la Péri) à travers le prisme de la transitivité du genre, pour rendre compte de leur complexité, contribuer à une meilleure compréhension de certains éléments peu discutés de leur développement psychologique.
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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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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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Wang, Chi. "Narrative to Action in the Creation and Performance of Music with Data-driven Instruments." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23277.
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The seven compositions that comprise this dissertation are represented by the following files: text file (pdf), seven video performances (mp4), and corresponding zipped files of custom software and affiliated files (various file types).This Digital Portfolio Dissertation centers on a collection of seven digital videos of performances of original electroacoustic compositions that feature data-driven instruments. The dissertation also includes a copy of the original software and affiliated files used in performing the portfolio of music, and a text document that analyzes and describes the following for each of the seven compositions: (1) the design and implementation of each of the seven complete data-driven instruments; (2) the musical challenges and opportunities provided by data-driven instruments; (3) the performance techniques employed; (4) the compositional structure; (5) the sound synthesis techniques used, and (6) the data-mapping strategies used. The seven compositions demonstrate a variety of electroacoustic and performance techniques and employ a range of interface devices as front-ends to the data-driven instruments. The seven interfaces that I chose to use for my compositions include the Wacom Tablet, the Leap Motion device for hand and finger detection, the Blue Air infrared sensor device for distance measurements, the Nintendo Wii Remote wireless game controller, the Gametrak three-dimensional, position tracking system, the eMotion™ Wireless Sensor System, and a custom sensor-based interface that I designed and fabricated. The title of this dissertation derives from the extra-musical impulses that drove the creative impulses of the seven original electroacoustic compositions for data-driven instruments. Of the seven compositions, six of the pieces have connections to literature. Despite the fact there is a literary sheen to these musical works, the primary impulses of these compositions arise from the notion of absolute music – music for music’s sake, music that is focused on sound and the emotional and intellectual stimulus such sound can produce when humans experience it. Thus, I simultaneously work both sides of the musical street with my compositions containing both extra-musical and absolute musical substance.
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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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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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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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Lamar, Jacquelyn B. (Jacquelyn Brown). "The History and Development of Vibrato Among Classical Saxophonists: A Lecture Recital Together with Three Recitals of Selected Works of A. Desenclos, L. Robert, J. Ibert, K. Husa, B. Heiden, R. Schumann and Others." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc330729/.
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This study examines the history and development of vibrato among classical saxophonists as well as briefly summarizes the history of vibrato in general from its origins on string instruments, the voice and other wind instruments. An analysis of recordings of early saxophonists shows the approximate time period of incorporation of vibrato on the saxophone and the influences of performers and musical styles on its development. Pedagogical methods of performing vibrato on the saxophone are included as well as a discussion of saxophone vibrato styles. An exploration of vibrato as an expressive musical device is provided along with conclusions drawn concerning performance practice implications.
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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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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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KIM, CHUNG-HA. "E. T. A. HOFFMANN'S INFLUENCE ON ROBERT SCHUMANN'S KREISLERIANA , OP. 16." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1121467170.
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Lukjanov, Julia. "Die antike Konzeption des Liebesbegriffes in der deutschen und russischen Literatur und Musik im 19. Jahrhundert anhand der Werke von E. T. A. Hoffmann, A. Puschkin, R. Schumann und P. Tschaikowski." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2010. http://dx.doi.org/10.18452/16104.
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Diese Arbeit untersucht den Begriff der Liebe interdisziplinär in der Literatur und in der Musik in Deutschland und Russland in der Epoche der Romantik. Ausgegangen wird von der antiken Rede des Sokrates über Liebe und seiner Definition von ihr, welche Platon in seinem „Symposion“ nach Sokrates aufschreibt. Diese wird in die Zeit der Romantik zuerst in die deutsche und russische Literatur und später auf die Musik übertragen und untersucht. Welche Veränderungen treten im Verständnis des Begriffes auf? Welche Unterschiede oder möglichen Parallelen in den zwei auf den ersten Blick unterschiedlichen Kulturen und Mentalitäten sind vorhanden? Welchen Einfluss nehmen die Persönlichkeiten der Künstler auf diese Veränderungen? Die Ergebnisse werden auf einzelne Werke der Schriftsteller, A. Puschkin und E.T.A. Hoffmann, und auf die Vertonungen dieser Werke der Komponisten, P. Tschaikowski und R. Schumann, übertragen. Diese, in erster Linie literaturwissenschaftliche Untersuchung stellt den Begriff der Liebe in den Vordergrund, noch vor der Person oder dem Werk des Künstlers. Somit ist das vorrangige Ziel der Arbeit, der Rezeption der platonischen Liebestheorie während der Epoche der Romantik nachzugehen. Der Gedanke der eigenen Wandelbarkeit und der Entwicklung des Schönen und der Liebe als Stufenweg korrespondiert mit der Erkenntnisphilosophie der Romantiker. Das Thema der Liebe hat auch in der heutigen Zeit eine wichtige Bedeutung, vor allem weil die Medien immer öfter von einer Krise der moralischen Werte sprechen. Die Liebe ist transmedial, sie durchwandert das subjektive Leben des Menschen, die objektiven äußeren Voraussetzungen, die Kultur und die Mentalität, die Literatur und die Musik und sie bleibt eine Sehnsucht, ein Streben, eine Idee. Sie ist aktiv und überbrückt jegliche Schranken als Kommunikationscode oder als höchster Versuch, den die Natur macht, um das Individuum aus sich heraus und zu dem anderen hinzuführen.This work examines the expression of Love in an interdisciplinary approach to literature and music in Germany and Russia during the Romantic Period. The starting point is Socrates’ classical discourse about Love and his definition of it, which Plato recorded in his Symposium. This will be applied to and examined in the Romantic Period, first in German and Russian literature and later in Music. What changes occur in the reception of this term? What differences or possible parallels can be determined in the two cultures and mentalities that are different at first sight? What is the influence of the respective artists on these changes? The results will be applied to the individual works of the writers A. Pushkin and E.T.A. Hoffmann as well as the musical settings of these works by the composers P. Tchaikovsky and R. Schumann. This examination, which is based primarily on literature and literary criticism, places the concept of Love in the foreground, even above the person or the work of the respective artist. Therefore, the primary goal of this work is to follow the reception of Plato’s “theory of love” during the Romantic Period. The concepts of one’s own inconstancy, the development of beauty, and the path of love correspond with the metacognitive philosophy of the Romantics. The subject of love has particular significance today because of the media’s frequent discussions about the crisis of moral values. Love is transmedial. It transcends the subjective lives of humans, the objective external conditions, culture and mentality, literature and music; and it remains a desire, an ambition, an idea. Love is active and bridges every boundary as a communicational code or as nature’s utmost attempt to lead an individual out of himself and to another.
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Hiser, Beth Ann 1978. "Genre and gesture : Robert Schumann's piano music for and about children." 2006. http://hdl.handle.net/2152/13127.
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Chen, Chueh-Ming, and 陳玨名. "The Music Analysis and Interpretation of Robert Schumann''s Fantasiestucke Opus 12." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/urq2u7.
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碩士國立臺北藝術大學
音樂系碩士在職專班音樂專業師資教育組
101
The Romantic Movement was widespread in Europe in the 19th century. Robert A. Schumann inherited the tradition of German classical music, and he also embodied the innovation Romantic spirit in his music. Schumann had a profound knowledge of literature, and his music is characterized by the fusion of literary and music ideas. Known as a poetic composer and music critic, Schumann deeply influenced many musicians after him. In Schumann’s career as a composer, keyboard music was the most important genre of his work. He loved to write character piece and piano cycle. Fantasiestucke, Op.12 is one of the piano cycles that feature poetic concept. In this fine work, Schumann expressed his subjective views, personality, and emotions, and he created a sense of fantasy based on the title of each piece accordingly. This thesis is divided into five chapters. The first chapter explores Schumann’s background, experience of life and personality. The second chapter classifies his piano works by time and genre so that we have a better understanding of the background of his piano works and how they were created. The third chapter “Fantasiestucke, Op.12” briefly discusses the work “Fantasy”, background of this work, and the characteristic features of Schumann’s piano works in terms of character piece, programme music, and dual personality presented in his work, which is a reflection of the composer’s split personality. The fourth chapter is a detailed analysis of the eight pieces. The fifth chapter focuses on the natural, poetic feature of this work, the dual personality embedded in this work, and his love for his wife Clara which is expressed through the music. The final concludes this thesis.
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"An Awareness of the Clara Motive in Dichterliebe by Robert Schumann." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53898.
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abstract: This project details specific placement and usage of the Clara motive in Robert Schumann’s Dichterliebe. The analysis categorizes the motive according to its different shapes and relationships to the poetry in Dichterliebe. Four main permutations of the motive are discussed in great detail: the original motive, inverted motive, retrograde motive, and retrograde inverted motive.
Schumann (1810–1856) composed more than 160 vocal works in 1840, commonly referred to as his Liederjahr. At the time, Schumann and Clara Wieck (1819–1896) were planning to marry, despite the objections of her father Friedrich Wieck (1785–1873). Robert was inspired to write Dichterliebe because of the happiness-and anxiety-surrounding his love for Clara, and the difficulties leading to their impending marriage. Schumann used the Clara motive (C-Bb-A-G#-A), which incorporates the letters of her name, throughout the song cycle in special moments as a tool of musical expression that alludes to his future wife.
Eric Sams (1926–2004), a specialist of German Lieder, has made significant contributions to the research of the Clara motive in Schumann’s music (through his book The Songs of Robert Schumann). However, research into specific locations and transformations of the Clara motive within the Dichterliebe are still insufficient. A further awareness of the Clara motive’s inner working is intended to help performers interpret this song cycle.Dissertation/Thesis
Doctoral Dissertation Music 2019
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Hsu, Fangyu, and 許芳瑜. "The Florestan, Eusebius and Robert Schumann Character in Music： “Sonata for Piano and Violin in A Minor, op.105”." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/05015870401255524913.
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碩士東海大學
音樂系
101
In this thesis, we have study "Sonata for Piano and Violin in A Minor, op.105" composed by Robert Schumann, which contains the Florestan, Eusebius and Robert Schumann character in music. Via analyzing and discussing the influence of the three characters to the dramatic composing technique and the scenario of this work, and we give a concept of interpretation and ensemble. This work mainly emphasizes the three characters of Schumann: The erotic Florestan, deliberate Eusebius and gloomy characters of Schumann himself. Two of the three characters which were created by Schumann reflect the suppression of himself in real life. Through music compositions, Schumann transformed his mind into real character and presented to people. This thesis is organized as follows: (1) Motivation, (2) The life of Schumann, (3) The Florestan, Eusebius and Robert Schumann character in music, (4) The interpretation and performance techniques and (5) Conclusions.
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chaing, ching-i. Fan, and 范姜晶怡. "The Analysis Interpretation and Discussion of Märchenbilder: Vier Stücke für Klavier und Viola, Op. 113 by Robert Schumann (1810-1856)/Viola Music Recital." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/75870619962521288581.
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碩士東吳大學
音樂學系
98
Abstract Viola da gamba is the earliest one of the Plucked-String Instruments. Although Viola was dispensable before the 20 century, its performance technique has been elevated recently. Viola makes a strong impression on people that it doesn’t play an accompaniment role any more. Therefore, the compositions for viola which created by the composers have been increasing largely. This Märchenbilder: Vier Stücke für Klavier und Viola, Op. 113 by Robert Schumann (1810-1856) is one of the vital work of Romanticism. It is filled with the composer’s romantic emotion, and it’s melody is beautiful. This thesis is divided into four chapters to introduce this work. First of all, I will introduce Schumann’ life events, style, background of her creation . Second, I will analyze and explain the four pieces, from the chord structure , material, and harmony structure to analyze and take musical contexts for practical examples. Third, I will conclude what performance Technique is necessary, and interpret from my objective viewpoints. Finally, I hope that via this thesis, people who enjoy viola music and the it’s players will understand and appreciate the music characteristics of Schumann more. Viola Music Recital 1.Johann Sebastian Bach (1685-1750) Viola da Gamba Sonata No.2 in D 2.Johann Nepomuk Hummel(1778-1837) FANTAISIE pour ALTO et ORCHESTRE à CORDES 3.Jean Baptiste Charles Dancla(1817-1907) Carnival of Venice 4.Rebecca Helferich Clarke(1886-1979) Sonata For Viola and Piano
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Šanderová, Jitka. "Clara Schumannová. Žena, umělkyně, pedagožka." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-349448.
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My thesis concerns the life of Clara Schumann (1819 - 1896), a major German concert pianist of the 19th century. It includes a list of her compositions and it describes her activities in piano pedagogy. Through the life of this extraordinary woman, her friends and contemporaries, the thesis provides deeper insights into the overall musical atmosphere of the 19th century. The thesis illuminates the importace of Clara Schumann and her lasting influence on European pianism.
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Godin, Jon-Tomas. "Enjeux esthétiques et musicaux de la sonate pour piano à l’époque romantique : les premières expériences en structure à grande échelle de Mendelssohn, Schumann et Brahms." Thèse, 2017. http://hdl.handle.net/1866/19023.
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Les sonates pour piano de la « génération romantique » (Rosen) et des compositeurs qui l’ont suivie s’éloignent des conventions qui régissent la forme classique, et ce à plusieurs égards : schéma tonal, découpage, fonctions formelles, voire même l’affect ou l’esthétique générale du mouvement. Lorsqu’il s’agit de sonates de jeunesse, ces écarts ont généralement été interprétés comme des maladresses ou comme un manque de métier. Cette thèse remet en question cette perspective
et propose une démarche analytique permettant de rétablir ce répertoire dans sa spécificité en définissant une nouvelle conception esthétique de la sonate romantique. L’approche développée ici n’est pas fondée sur une construction musicale purement théorique : elle repose plutôt sur une conciliation entre, d’une part, les valeurs esthétiques caractéristiques de cette époque, et, d’autre part, l’analyse structurelle et formelle. Cette approche est exposée en deux grandes étapes. Les chapitres 1 et 2 parcourent les écrits philosophiques, littéraires, théoriques et critiques des années 1790-1860 pour y découvrir six valeurs esthétiques qui définissent la sonate au XIXe siècle : la forme abstraite, la cohérence à grande échelle, l’organicisme, la tension entre tradition et innovation, l’expression du sublime et celle de la noblesse. Les chapitres 3 à 5 emploient différentes techniques d’analyse (la Formenlehre de William Caplin, l’analyse réductionnelle de Heinrich Schenker et l’étude de l’organisation rythmique et métrique d’après Lester, Krebs et de Médicis) pour montrer comment ces six valeurs esthétiques permettent de rendre compte de la structure spécifique des oeuvres sélectionnées : la Sonate pour piano en mi majeur, op. 6 (1826), de Mendelssohn ; la Grande Sonate pour piano en fa dièse mineur, op. 11 (1832-1835), de Schumann ; la Grande Sonate pour piano en fa mineur, « Concert sans orchestre », op. 14 (1835-1836, rév. 1853), de Schumann ; et la Sonate pour piano en fa dièse mineur, op. 2, de Brahms (1852). Cette approche, qui permet d’appliquer la théorie de la forme à un répertoire pour lequel elle n’a pas a priori été conçue, met l’accent sur la souplesse du rapport entre le discours esthétique et la pratique compositionnelle. Chaque compositeur, sinon chaque oeuvre, répond aux valeurs esthétiques à divers degrés et selon différentes combinaisons. Au final, cette démarche permet de montrer à quel point les considérations esthétiques jouent un rôle primordial dans la conception même de la forme sonate au XIXe siècle. Elle ouvre de nouvelles perspectives en permettant de mieux cerner les points de contact et les divergences entre la sonate classique et la sonate romantique, et fournit des éléments qui permettront une comparaison plus légitime entre ces deux répertoires.Piano sonatas written by composers from the ‘Romantic Generation’ (Rosen), as well as those from the following generation, tend to move away from the conventions of classical form in many ways: tonal plan, form, formal functions, and even the general affect or aesthetic of the movement. When the sonatas in question are early works, unconventional details are frequently interpreted as mistakes or the result of a lack of training. This dissertation challenges that perspective and develops an analytical approach that establishes the unique elements of this repertoire by defining a new aesthetic understanding of romantic sonata form. This approach is not based on a purely musical construct. Rather, it combines characteristic aesthetic values of the period with formal and structural analysis. The approach is presented in two stages. The first two chapters of the dissertation survey philosophical, literary, theoretical and critical texts from 1790 to 1860, uncovering six aesthetic values that define the sonata in the 19th century: abstract form, large-scale coherence, organicism, the opposition of tradition and innovation, an expression of the sublime and of nobility. Chapters 3 to 5 use different analytical methods (Caplin’s Formenlehre, Schenkerian linear analysis, and rhythmic analysis based on Lester, Krebs, and de Médicis) to illustrate how these six core aesthetic values illuminate the specific structures of four sonata-form movements: Mendelssohn’s Piano Sonata in E Major, op. 6 (1826), Schumann’s Piano Sonata in F-sharp Minor, op. 11 (1832-1835) and Piano Sonata in F Minor, “Concert sans orchestre”, op. 14 (1835-1836, rev. 1853), and Brahms’ Piano Sonata in F-sharp Minor, op. 2 (1852). This approach, which applies Caplin’s theory of form to a repertoire for which it was not originally developed, underscores the fluidity of the relationship between aesthetic discourse and compositional practice. Each composer, perhaps each individual work, responds to the aesthetic values in different ways and to varying degrees. In the end, this type of analysis shows how significant aesthetic considerations are in conceptualising sonata form in the 19th century. It broadens our perspective on form by better identifying the commonalities and divergences between classical and romantic sonata form, and provides elements that will allow a more accurate comparison of these two repertoires.
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Selene, Xander. "A Shine of Truth in the "universal delusional context of reification" (Theodor W. Adorno)." Thèse, 2014. http://hdl.handle.net/1866/11417.
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“A Shine of Truth in the ‘universal delusional context of reification’ (Theodor W. Adorno)” comprend sept chapitres, un prologue et un épilogue. Chaque partie se construit à deux niveaux : (1) à partir des liens qui se tissent entre les phrases contiguës ; et (2) à partir des liens qui se tissent entre les phrases non contiguës. Les incipit des paragraphes forment l’argument principal de la thèse. Le sujet de la thèse, Schein (apparence, illusion, clarté) est abordé de manière non formaliste, c’est à dire, de manière que la forme donne d’elle-même une idée de la chose : illusion comme contradiction imposée. Bien que le sujet de la thèse soit l’illusion, son but est la vérité. Le Chapitre I présente une dialectique de perspectives (celles de Marx, de Lukács, de Hegel, de Horkheimer et d'Adorno) pour arriver à un critère de vérité, compte tenu du contexte d’aveuglement universel de la réification ; c’est la détermination de la dissolution de l’apparence. Le Chapitre II présente le concept d’apparence esthétique—une apparence réversible qui s’oppose à l’apparence sociale générée par l’industrie de la culture. Le Chapitre III cherche à savoir si la vérité en philosophie et la vérité en art sont deux genres distincts de vérités. Le Chapitre IV détermine si l’appel à la vérité comme immédiateté de l’expression, fait par le mouvement expressionniste du 20e siècle, est nouveau, jugé à l’aune d’un important antécédent à l’expressionisme musical : « Der Dichter spricht » de Robert Schumann. Le Chapitre V se penche sur la question à savoir si le montage inorganique est plus avancé que l’expressionisme. Le Chapitre VI reprend là où Peter Bürger clôt son essai Theorie de l’avant-garde : ce chapitre cherche à savoir à quel point l’oeuvre d’art après le Dada et le Surréalisme correspond au modèle hégélien de la « prose ». Le Chapitre VII soutient que Dichterliebe, op. 48, (1840), est une oeuvre d’art vraie. Trois conclusions résultent de cette analyse musicale détaillée : (1) en exploitant, dans certains passages, une ambigüité dans les règles de l’harmonie qui fait en sorte tous les douze tons sont admis dans l’harmonie, l’Opus 48 anticipe sur Schoenberg—tout en restant une musique tonale ; (2) l’Opus 48, no 1 cache une tonalité secrète : à l'oeil, sa tonalité est soit la majeur, soit fa-dièse mineur, mais une nouvelle analyse dans la napolitaine de do-dièse majeur est proposée ici ; (3) une modulation passagère à la napolitaine dans l’Opus 48, no 12 contient l’autre « moitié » de la cadence interrompue à la fin de l’Opus 48, no 1. Considérés à la lumière de la société fausse, l’Allemagne des années 1930, ces trois aspects anti-organiques témoignent d’une conscience avancée. La seule praxis de vie qu’apporte l’art, selon Adorno, est la remémoration. Mais l’effet social ultime de garder la souffrance vécue en souvenir est non négligeable : l’émancipation universelle.“A Shine of Truth in the ‘universal delusional context of reification’ (Theodor W. Adorno)” defends Adorno’s aesthetics as a theory of advanced, or avant-garde, artworks. Its seven chapters show that aesthetic experience implies liberation from illusion (Schein). Chapter I engages a dialectic of viewpoints to explain how different dialectical thinkers (Marx, Lukács, Hegel, Horkheimer, Adorno) have contributed to a criterion of truth adequate to today’s total delusional context of reification—determinate negation of illusion. Chapter II introduces the concept of artistic aesthetic illusion—a reversible illusion opposed to the social illusions of mechanical musical reproduction and of the culture industry. Chapter III examines the question of whether truth in philosophy is a different kind of truth than truth in art. Chapter IV considers whether truth in twentieth-century Expressionism is a new truth based on immediate expression, in light of an important precedent for Expressionism in Robert Schumann’s “Der Dichter spricht.” Chapter V determines whether inorganic montage is more advanced than Expressionism. Chapter VI takes up a parting suggestion of Peter Bürger: to treat artworks after Dada and Surrealism on the model of “prose” in Hegel’s aesthetics. Chapter VII pursues the idea that Dichterliebe, op. 48, (1840) by Robert Schumann is a true artwork. Three results emerge from this close musical analysis: (1) exploiting, on occasion, an ambiguity in the rules for figuration that permits all twelve tones in the harmony, Schumann anticipates Schoenberg; (2) Op. 48, No. 1 is in a hidden key: to all appearances, its key is either A major or F-sharp minor, but its secret key is the Neapolitan region applied to C-sharp major; (3) the other “half” of the cadence with which Op. 48, No. 1 breaks off suddenly may be found in a brief applied-Neapolitan passage in No. 12. The thesis argued is that the antiorganicity in such a work is advanced with regard to the false reality of 1930s Germany and the place of organicity therein. According to Adorno, the only life-praxis afforded by art is remembrance. But the social effect of remembering social suffering is considerable when the Here-and-Now is its own justification.