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Littérature scientifique sur le sujet « Schumann »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 8 février 2025

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Articles de revues sur le sujet "Schumann"

1

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

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The article examines the main milestones in the biography of Robert Schumann, a prominent politician in post-war France, a member of several cabinets and an active supporter of Western European integration, who proclaimed a plan to unite the production of coal and steel (“The Schuman Declaration”, known as “Schumann Plan” in Russian historiography). His efforts to achieve historic reconciliation between France and Germany after the deep trauma inflicted by the two World Wars are underlined. Particular attention is paid to Schumann&apos;s Christian worldview and his ideas about Christian va

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Polska, I. І. "«Exegi monumentum»: the reflection of Schumann’s images in the Variations by J. Brahms on the theme by R. Schumann op. 23." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 249–61. http://dx.doi.org/10.34064/khnum2-17.16.

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Background. The problematics associated with the personal and creative relationships between Johannes Brahms and Robert Schumann, as well as the nature of their reflection in art, have been worrying the minds of researchers for more than a century and a half. One of significant, but little-studied aspects is the embodiment of Schumann’s images and associations in the four-handed piano works by J. Brahms. The article objective is revealing of the semantic specifics of the reflection of Robert Schumann creativity in the Variations by Johannes Brahms on the Theme by R. Schumann, op. 23. The study

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Kim, Ji-Young. "A Melody and Its Afterlives in Piano Music by the Schumanns and Brahms." 19th-Century Music 46, no. 3 (2023): 217–43. http://dx.doi.org/10.1525/ncm.2023.46.3.217.

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In the 1830s, Robert Schumann wrote Impromptus on a Romance by Clara Wieck (op. 5), a set of variations on the theme from Wieck’s Romance variée (op. 3). In the 1850s, Clara Schumann wrote variations (op. 20) on an “Albumblatt” from Robert Schumann’s Bunte Blätter (op. 99), which stimulated Brahms to write his own variations (op. 9) on the same theme. Clara and Brahms linked the two temporal nodes together by quoting the melody shared by Clara and Robert’s youthful ops. 3 and 5 in their later ops. 20 and 9. These borrowings have stimulated interpretations that revolve around representations of

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Wermager, Sonja. "“Worthy of a Monument in Artistic History”: Religion and Nation in the Plans for Robert Schumann’s Unrealized Martin Luther Oratorio." 19th-Century Music 46, no. 1 (2022): 39–59. http://dx.doi.org/10.1525/ncm.2022.46.1.39.

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In January 1851, Robert Schumann wrote to Richard Pohl with an idea: “I would like to write an oratorio. Perhaps you would lend your hand? I thought of Luther.” Pohl enthusiastically agreed to write the libretto and the two began discussing their ideas for a musical work depicting the life of the sixteenth-century Protestant reformer Martin Luther in an extended correspondence. Ultimately, despite two years of intermittent planning and deep investment on the part of Schumann, the project fell through. That there is no libretto or musical sketches for the proposed oratorio has meant the project

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Ferris, David. "Public Performance and Private Understanding: Clara Wieck's Concerts in Berlin." Journal of the American Musicological Society 56, no. 2 (2003): 351–408. http://dx.doi.org/10.1525/jams.2003.56.2.351.

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Abstract The critics of the Neue Zeitschrift für Musik idealized the private performance as an enlightened alternative to the public concert, and it was in private settings that Clara Wieck Schumann typically played Robert Schumann's music in the early years of her career. In the winter of 1839-40 she was in Berlin, abandoned by her father, Friedrich Wieck, and struggling to continue her career on her own. At Schumann's suggestion she performed his Sonata No. 2 in G Minor, Op. 22 in a public soirée. Afterwards Schumann decided his music was too personal for a public audience, and his major pia

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Cherniavska, M. S. "Clara Wieck Schumann in the European scientific discourse." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 213–31. http://dx.doi.org/10.34064/khnum2-17.14.

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Background. The article is devoted to studying of versatile aspects of life and work of the outstanding German pianist and composer Clara Josephine Wieck Schumann (1819–1896) on little-known in domestic musicology materials of the European scientific literature. The review of scientific sources also includes the rare works given personally to the author by the relative of Clara Schumann, Frau Hannelore &#214;sterschritt, which is the great-granddaughter of her step-brother on the mother’s side, W. Bargiel. The above large array of systematized chronological and literary sources gives an id

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Pedneault-Deslauriers, Julie. "Beyond Vierhebigkeit: Phrase Structure and Poetic Meaning in Three Lieder by Clara Schumann." Music Theory and Analysis (MTA) 8, no. 2 (October 30, 2021): 307–27. http://dx.doi.org/10.11116/mta.8.2.5.

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This vignette illuminates various creative formal and phrase-rhythmic strategies devised by Clara Schumann that demonstrate her refined approach to phrase construction and text setting. Though some scholars have noted a certain "squareness" pervading Schumann's music, I argue that this regularity often conceals deeper levels of complexity. In analyses of three Lieder, "Der Mond kommt still gegangen," "Die gute Nacht," and "Beim Abschied," and by building on recent studies applying Caplinian formal functions to vocal music, I demonstrate how Schumann overlays subtle formal deviations, intricate

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Barthes, Roland. "Amar Schumann." Opus 25, no. 1 (April 30, 2019): 213–16. http://dx.doi.org/10.20504/opus2019a2510.

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White, Stephen. "Fighting the Philistines: Robert Schumann and the Davidsbündler." Musical Offerings 12, no. 1 (2021): 1–9. http://dx.doi.org/10.15385/jmo.2021.12.1.1.

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Robert Schumann was an eccentric composer and musical critic who influenced the Romantic-era musical community through the formation of the Davidsbündler. This “league of David” was Schumann’s idea of a musical society which exemplified a distinctly pure style of modern musical composition. The style of the Davidsbündler was based on the idea that music must reflect the personal life experiences of its composer. Needing a journal to publish musical writings of Davidsbündler, Schumann created the New Journal for Music. Having himself suffered from mental instability throughout his life, Schuman

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Hoeckner, Berthold. "Schumann and Romantic Distance." Journal of the American Musicological Society 50, no. 1 (1997): 55–132. http://dx.doi.org/10.2307/832063.

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The poetic trope and aesthetic category of "distance" is central to Novalis's and Jean Paul Richter's definition of the Romantic, as embodied in dying sound and distant music. In the "young poetic future" proposed by the composer and critic Robert Schumann in the 1830s, romantic distance figures prominently, exemplified by the relationship between the endings of Jean Paul's Flegeljahre and Schumann's Papillons, Op. 2. Distance also provides the key for a new understanding of the relationship between analysis and poetic criticism in Schumann's review of Schubert's Great C-Major Symphony; betwee

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Thèses sur le sujet "Schumann"

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

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Wallbaum, Christopher. "Der außeraustralische Schumann." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-37788.

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Der Beitrag skizziert (1) vier musikdidaktische Grundpositionen zur Gestaltung von Musikunterricht. Für alle vier spielt das Erfahren bzw. das Erfahrungen Machen oder Haben eine bedeutende Rolle, aber jeweils in sehr unterschiedlicher Weise. Sie gehen vom Kunstwerk, vom Schüler, von Musikkulturen und von der Klassensituation aus. Nach (2) einer didaktischen Interpretation klassisch-romantischer Musikkultur werden (3) die Ergebnisse hinsichtlich ihrer Eignung für ästhetische Praxis in der Klasse reflektiert und erst zum Schluss wird ein Ausblick auf die Thematisierung von Schumann im Musikunter

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

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Von dem sogenannten Schumann-Album, welches die Sächsische Landesbibliothek 1934 erwarb, sind insgesamt 57 musikalische Albumblätter erhalten und bereits digitalisiert. Darunter einige Stücke einer Sammlung von Clara Schumann und auch Kompositionen, die Robert Schumann von Komponisten erhielt.

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Burger-Güntert, Edda. "Robert Schumanns "Szenen aus Goethes Faust : Dichtung und Musik /." Freiburg i. Br. [u.a.] : Rombach, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2867480&prov=M&dok_var=1&dok_ext=htm.

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

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Thesis (Ph. D.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.<br>"A dissertation in performance." Advisor: Hali Fieldman. Typescript. Includes musical examples. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Includes bibliographical references (leaves 219-241). Online version of the print edition.

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

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

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Als 1901 ein Denkmal für Robert Schumann in seiner Geburtsstadt Zwickau eingeweiht wurde, regte der Musikforscher Max Friedländer in einer der Festreden die Einrichtung eines Schumann-Museums an. Bald gründete sich ein Museumsausschuss, dessen Vorsitz der Oberlehrer Martin Kreisig übernahm. In Schumanns Todesjahr 1856 geboren, war Kreisig über die mit Schumann eng befreundete Familie Serre von Kind auf in die Schumann-Tradition eingeführt worden. Zur 100. Wiederkehr des Geburtstags Robert Schumanns am 8. Juni 1910 konnte die erste Frucht dieser Bemühungen durch eine Sonderausstellung in der Au

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Cabral, Clarissa da Costa. "Os Lieder de Clara Schumann." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-12032013-165036/.

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Este trabalho tem como objetivo apresentar um modelo de análise musical que fundamenta uma possibilidade interpretativa dos Lieder - gênero musical resultante da fusão das linguagens poética e musical - de Clara Schumann, pianista e compositora alemã do século XIX que teve papel relevante no cenário musical de sua época, realizando a primeira audição e divulgação da obra de muitos dos seus contemporâneos, especialmente de seu marido, Robert Schumann. As análises evidenciam o elevado nível artístico dessas composições, as quais abordam questões relacionadas ao período romântico em um contexto m

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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

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Livres sur le sujet "Schumann"

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Chissell, Joan. Schumann. 5th ed. London: Dent, 1989.

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Oussenko, Sylvie. Schumann. Paris: Eyrolles, 2009.

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Abraham, Gerald, and Eric Sams. Schumann. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-04425-9.

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Jensen, Eric Frederick. Schumann. Oxford: Oxford University Press, 2001.

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Rachlin, Ann. Schumann. Paris: Éditions Gamma, 1994.

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

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

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Boucourechliev, André. Schumann. Paris: Seuil, 1989.

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Susan, Hellard, ed. Schumann. London: Gollancz, 1993.

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ill, Hellard Susan, ed. Schumann. Hauppauge, NY: Barron's, 1993.

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Chapitres de livres sur le sujet "Schumann"

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Abraham, Gerald, and Eric Sams. "Die Frühen Jahre (1810–1827)." In Schumann, 9–12. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-04425-9_1.

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Abraham, Gerald, and Eric Sams. "Orchester- und Kammermusik." In Schumann, 85–89. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-04425-9_10.

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Abraham, Gerald, and Eric Sams. "Chormusik und Dramatische Musik." In Schumann, 90–92. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-04425-9_11.

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Abraham, Gerald, and Eric Sams. "Kritische Schriften." In Schumann, 93. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-04425-9_12.

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Abraham, Gerald, and Eric Sams. "Leipzig und Heidelberg (1828–1831)." In Schumann, 13–19. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-04425-9_2.

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Abraham, Gerald, and Eric Sams. "Die Jahre 1832–1840." In Schumann, 20–35. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-04425-9_3.

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Abraham, Gerald, and Eric Sams. "Die Jahre 1840–1844." In Schumann, 36–46. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-04425-9_4.

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Abraham, Gerald, and Eric Sams. "Dresden (1844–1850)." In Schumann, 47–60. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-04425-9_5.

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Abraham, Gerald, and Eric Sams. "Düsseldorf (1850–1852)." In Schumann, 61–68. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-04425-9_6.

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Abraham, Gerald, and Eric Sams. "Die Letzten Jahre (1852–1856)." In Schumann, 69–76. Stuttgart: J.B. Metzler, 1994. http://dx.doi.org/10.1007/978-3-476-04425-9_7.

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Actes de conférences sur le sujet "Schumann"

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Shvets, A. V., V. K. Ivanov, and A. V. Varavin. "Schumann Resonance Observations within Urban Areas." In 15th International Zurich Symposium and Technical Exposition on Electromagnetic Compatibility, 37–40. IEEE, 2003. https://doi.org/10.23919/emc.2003.10806310.

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Ohta, Kenji, Nobuo Watanabe, and Masashi Hayakawa. "Electromagnetic Fields and Schumann Resonance on Taiwan Earthquakes." In 2004_Wroclaw, 1–4. IEEE, 2004. https://doi.org/10.23919/emc.2004.10844139.

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Dolgopolov, S. G. "Schumann Resonance Modes Influenced by the Eclipse of the Sun." In EMC_1992_Wroclaw, 577–81. IEEE, 1992. https://doi.org/10.23919/emc.1992.10833252.

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Ando, Yoshiaki, and Masashi Hayakawa. "Finite Difference Analyses of Schumann Resonance and Reconstruction of Lightning Distribution." In 16th International Zurich Symposium and Technical Exposition on Electromagnetic Compatibility, 243–46. IEEE, 2005. https://doi.org/10.23919/emc.2005.10806077.

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Letier, Pierre, Ernest Porqueras Codina, Giuseppe Mistritta, Carolina Pinto Dos Santos Serra, and Jeremi Gancet. "SCHUMANN: Design and Development of a Functional Satellite Module for Refueling Applications." In 22nd IAA Symposium on Building Blocks for Future Space Exploration and Development, Held at the 75th International Astronautical Congress (IAC 2024), 421–29. Paris, France: International Astronautical Federation (IAF), 2024. https://doi.org/10.52202/078374-0043.

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Kabanov, V. V., V. Yu Belashov, and I. S. Shevchenko. "Experimental Investigations of Multifrequent Narrow Band Emission in the Schumann Resonance Frequency Range." In 1996_EMC-Europe_Roma, 487–90. IEEE, 1996. https://doi.org/10.23919/emc.1996.10783889.

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Nickolaenko, A. P., L. M. Rabinowicz, and A. Yu Schekotov. "Polarization of the Schumann Resonance Horizontal Magnetic Field in the Anisotropic Earth-Ionosphere Cavity." In EMC_2002_Wroclaw, 1–4. IEEE, 2002. https://doi.org/10.23919/emc.2002.10842382.

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Nickolaenko, A. P., L. M. Rabinowicz, and A. Yu Schekotov. "Polarization of the Schumann Resonance Horizontal Magnetic Field in the Anisotropic Earth-Ionosphere Cavity." In EMC_2002_Wroclaw, 699–702. IEEE, 2002. https://doi.org/10.23919/emc.2002.10842478.

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Nickolaenko, A. P., L. M. Rabinowicz, and A. Yu Schekotov. "Polarization of the Schumann Resonance Horizontal Magnetic Field in the Anisotropic Earth-Ionosphere Cavity." In 2004_Wroclaw, 1–4. IEEE, 2004. https://doi.org/10.23919/emc.2004.10844114.

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Yatsevich, E. L., A. P. Nickolaenko, and A. V. Shvets. "Preliminary Results on the Global Lightning Activity Inferred from Schumann Resonance Records Two Years Long." In EMC_2002_Wroclaw, 507–10. IEEE, 2002. https://doi.org/10.23919/emc.2002.10842540.

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Rapports d'organisations sur le sujet "Schumann"

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Musur, M. A., and C. D. Beggan. Seasonal and Solar Cycle Variation of Schumann Resonance Intensity and Frequency at Eskdalemuir Observatory, UK. Balkan, Black sea and Caspian sea Regional Network for Space Weather Studies, October 2019. http://dx.doi.org/10.31401/sungeo.2019.01.11.

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of

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