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Artykuły w czasopismach na temat „Schumann”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 8 lutego 2025

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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

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9

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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10

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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11

Stewart-MacDonald, R. "Anniversary reflections: Chopin, Schumann and Schumann's circle." Early Music 38, no. 4 (November 1, 2010): 627–31. http://dx.doi.org/10.1093/em/caq097.

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12

Synofzik, Thomas. "Rückert-Kanon als Keimzelle zu Schumanns Klavierkonzert Op. 54." Die Musikforschung 58, no. 1 (September 22, 2021): 28–32. http://dx.doi.org/10.52412/mf.2005.h1.605.

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Im Januar 1841 komponierte Robert Schumann ein bisher unbeachtetes kanonisches Duett für seinen Rückert-Zyklus op. 37 <Ich bin dein Baum, o Gärtner>, das keine Parallelen zur späteren Vertonung op. 101/3 aufweist. Es wurde schließlich nicht in den gedruckten Zyklus übernommen, da daraus im Mai 1841 der erste Satz von Schumanns Klavierkonzert op. 54 entstand. Das Duett wurde wenig verändert als As-Dur-Mittelteil übernommen, darum herum bildet Schumann nach einer schon 1836 geäußerten Idee einen a-Moll-Konzertsatz, der eine Synthese aus dreisätzigem Konzertmodell und Sonatenhauptsatz bilde

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13

Kaprin, Aleksander Dmitrievich. "Pedagogical wishes of Professor E. K. Virsaladze in the work on R. Schumann's "Symphonic Etudes" op. 13." Философия и культура, no. 4 (April 2023): 57–69. http://dx.doi.org/10.7256/2454-0757.2023.4.40450.

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In this article, for the first time, the work of Professor E. K. Virsaladze in class on the "Symphonic Etudes" Op. 13 by R. Schumann was reviewed and a small performance analysis of her performance in the Great Hall of the Moscow Conservatory was given. The concert took place on April 16, 2010, on the 200th anniversary of the birth of R. Schumann. The author, being a student of her class and an assistant trainee, made notes of the teacher's wishes in the work on the "Symphonic Etudes" by the romantic composer R. Schumann. The suggestions and recommendations expressed by E. K. Virsaladze on "Sy

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14

Perrey, Beate. "Schumann." Nineteenth-Century Music Review 1, no. 1 (June 2004): 192–93. http://dx.doi.org/10.1017/s1479409800002044.

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15

Seaton, Douglass. "Schumann." Nineteenth-Century Music Review 2, no. 2 (November 2005): 222–25. http://dx.doi.org/10.1017/s1479409800002421.

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16

Schmalfeldt, Janet. "From Literary Fiction to Music: Schumann and the Unreliable Narrative." 19th-Century Music 43, no. 3 (2020): 170–93. http://dx.doi.org/10.1525/ncm.2020.43.3.170.

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The theoretic model of the “unreliable narrative” in fiction took flight in the early 1960s; it has since become a key concept in narratology, and an indispensable one. Simply put, first-person unreliable narrators are ones about whom we as readers, in collusion with the author, learn more than they know about themselves. Romantic precursors of modernist experiments in fiction—incipient cases of narrative unreliability—arise in the works of, among others, Jean Paul Richter and Heinrich Heine, two of Robert Schumann's favorite writers. In his early solo piano cycle, Papillons, op. 2, Schumann d

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17

Liu, Jinlai, Jianping Huang, Zhong Li, Zhengyu Zhao, Zhima Zeren, Xuhui Shen, and Qiao Wang. "Recent Advances and Challenges in Schumann Resonance Observations and Research." Remote Sensing 15, no. 14 (July 15, 2023): 3557. http://dx.doi.org/10.3390/rs15143557.

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The theoretical development of Schumann Resonances has spanned more than a century as a form of global natural electromagnetic resonances. In recent years, with the development of electromagnetic detection technology and the improvement in digital processing capabilities, the connection between Schumann Resonances and natural phenomena, such as lightning, earthquakes, and Earth’s climate, has been experimentally and theoretically demonstrated. This article is a review of the relevant literature on Schumann Resonance observation experiments, theoretical research over the years, and a prospect b

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18

Cao, Bing Xia, and Xiao Lin Qiao. "Schumann Resonance Measurement Based on Nonlinear Interaction." Key Engineering Materials 439-440 (June 2010): 1294–99. http://dx.doi.org/10.4028/www.scientific.net/kem.439-440.1294.

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Schumann Resonance relates with global temperature variations, new geophysics phenomena in the low ionosphere and short-term earthquake prediction etc. In this paper based on the nonlinear modulation model of high frequency and extreme-low frequency electromagnetic waves in low ionosphere, the Schumann Resonance observing is researched. Taking the fair weather electric field in account, the cross modulation index was 4.2×10-4. At the first Schumann Resonance observatory of China, the first 4 peaks of Schumann Resonance respectively at 7, 14, 20, 26Hz were obtained in demodulation spectra of th

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19

Stefaniak, Alexander. "Robert Schumann, Serious Virtuosity, and the Rhetoric of the Sublime." Journal of Musicology 33, no. 4 (2016): 433–82. http://dx.doi.org/10.1525/jm.2016.33.4.433.

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In several essays from the first half of the nineteenth century, Robert Schumann and other music critics used the rhetoric of the sublime when describing select, unconventionally intense virtuosic showpieces and performances, evoking this category’s associations with overpowering, even fearsome experiences and heroic human qualities. These writings formed one strand of a larger discourse in which musicians and critics attempted to describe and identify instances of virtuosity that supposedly rejected superficiality and aimed at serious aesthetic values: in the nineteenth-century imagination, t

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20

Eubank, Lynn, and Kevin R. Gregg. "“Et in Amygdala Ego”?" Studies in Second Language Acquisition 17, no. 1 (March 1995): 35–57. http://dx.doi.org/10.1017/s0272263100013747.

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John Schumann and colleagues (Jacobs, 1988; Jacobs & Schumann, 1992; Pulvermüller & Schumann, 1994; Schumann, 1990a, 1990b) have argued for a neurobiological perspective on language acquisition, one that denies a role for a specifically linguistic mental module of the sort proposed by, for example, Chomsky (e.g., 1986). In this paper, we challenge this perspective by offering evidence that such a mental module must be involved in the acquisition of grammatical competence.

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21

Hornbogen, Erhard, and Michael Pohl. "Hermann Schumann." Practical Metallography 26, no. 8 (August 1, 1989): 441. http://dx.doi.org/10.1515/pm-1989-260806.

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22

Storr, Anthony, and Peter F. Ostwald. "Schumann Diagnosed." Musical Times 126, no. 1713 (November 1985): 671. http://dx.doi.org/10.2307/965041.

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Shawe-Taylor, Desmond. "Elisabeth Schumann." Musical Times 129, no. 1750 (December 1988): 643. http://dx.doi.org/10.2307/966653.

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Nancy B. Reich and 장정윤. "Clara Schumann." 音.樂.學 22, no. 1 (June 2014): 137–85. http://dx.doi.org/10.34303/mscol.2014.22.1.005.

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25

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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26

Meissner, Thomas. "Clara Schumann." Heilberufe 67, no. 1 (January 2015): 87. http://dx.doi.org/10.1007/s00058-015-1269-y.

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Kropp, R. "Felix Schumann." Pneumologie 60, no. 05 (May 8, 2006): 290–94. http://dx.doi.org/10.1055/s-2005-915586.

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Philipp, Thomas. "Christoph Schumann." die welt des islams 54, no. 1 (April 28, 2014): 1–3. http://dx.doi.org/10.1163/15700607-00541p01.

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Loos, Helmut. "Schumann Briefedition." Die Musikforschung 71, no. 3 (December 23, 2024): 275–78. https://doi.org/10.52412/mf.2018.h3.3745.

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30

Schumann, John H. "Ad Minorem Theoriae Gloriam." Studies in Second Language Acquisition 17, no. 1 (March 1995): 59–63. http://dx.doi.org/10.1017/s0272263100013759.

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Eubank and Gregg (1995) claim that “Jacobs and Schumann wish to deny the existence of UG” (p. 42). This statement presupposes the existence of Universal Grammar (UG). However, Jacobs, Schumann, and Pulvermuller see the existence of UG and its possible neural substrate as an empirical issue and, therefore, are free to explore it, examine it, and question it. If it were demonstrated that there were, in fact, no UG, it would do great violence to Eubank and Gregg's theory. However, if it were demonstrated that UG did exist, Jacobs, Schumann, and Pulvermüller could easily accommodate this fact in t

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31

Nikolenko, R. "Soirées musicales, Op. 6 by Clara Schumann: compositional and dramaturgical principles of the cycle." Culture of Ukraine, no. 78 (December 23, 2022): 150–55. http://dx.doi.org/10.31516/2410-5325.078.19.

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The relevance of the article. Clara Wieck-Schumann is one of the most famous female composers today, an outstanding artist of the XIX century. A significant amount of musicological researches has been devoted to her performance and compositional activities, and the recognized interpreter of the music of Robert and Clara Schumann, the Belgian pianist Joseph de Benhouwer, recorded all of her piano opuses. However, some certain issues related to the specifics of C. Schumann’s compositional work still require scientific research. The purpose of the article. Determination of the specifics of

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32

Saroka, Kevin S., and Michael A. Persinger. "Quantitative Evidence for Direct Effects between Earth-Ionosphere Schumann Resonances and Human Cerebral Cortical Activity." International Letters of Chemistry, Physics and Astronomy 39 (October 2014): 166–94. http://dx.doi.org/10.18052/www.scipress.com/ilcpa.39.166.

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The multiple quantitative similarities of basic frequencies, harmonics, magnetic field intensities, voltages, band widths, and energetic solutions that define the Schumann resonances within the separation between the earth and ionosphere and the activity within the human cerebral cortices suggest the capacity for direct interaction. The recent experimental demonstration of the representations of the Schumann resonances within the spectral densities of normal human quantitative electroencephalographic (QEEG) activity suggests a casual interaction. Calculations supported by correlations between

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33

Saroka, Kevin S., and Michael A. Persinger. "Quantitative Evidence for Direct Effects between Earth-Ionosphere Schumann Resonances and Human Cerebral Cortical Activity." International Letters of Chemistry, Physics and Astronomy 39 (October 2, 2014): 166–94. http://dx.doi.org/10.56431/p-30a563.

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The multiple quantitative similarities of basic frequencies, harmonics, magnetic field intensities, voltages, band widths, and energetic solutions that define the Schumann resonances within the separation between the earth and ionosphere and the activity within the human cerebral cortices suggest the capacity for direct interaction. The recent experimental demonstration of the representations of the Schumann resonances within the spectral densities of normal human quantitative electroencephalographic (QEEG) activity suggests a casual interaction. Calculations supported by correlations between

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34

Ivanova, I. L. "“3 Piano Sonatas for the Young” op. 118 in a context of last works by Robert Schumann." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 26–45. http://dx.doi.org/10.34064/khnum2-13.03.

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Background. In recent years, there has been an increased interest of musicologists in the phenomenon of “late Schumann” in the aspect of usage of different historical and cultural traditions by the composer, that constituted problematic aura of given research. Modern scholars investigate this matter from several positions: bounds of Schumann’s style with antecedent music, Viennese classics and art of Baroque (K. Zhabinskiy; 2010); formation of aesthetic and stylistic principles of composer in 1840s–1850s, foreseeing musical phenomena of second half of XIX century (A. Demchenko; 2010), realizat

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35

Lian, Yuanmei. "“Zwei Venetianische Lieder” by R. Schumann in the tradition of Austro-German romantic song." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 73–88. http://dx.doi.org/10.34064/khnum2-18.05.

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Introduction. Given article considers R. Schumann’s “Zwei Venetianische Lieder” / “Two Venetian Songs” (ор. 25, №17–18) on poems by T. Moore, in F. Freiligrath translation. Often the creation of the Venice ambience in art works was due to trips and impressions on this city. In 1829, R. Schumann, as a student of Heidelberg University, went on a trip to Switzerland and Italy during his study vacation. One of the cities on the travel map was Venice. R. Schumann “resurrected” the city ambience only eleven years after in the “Zwei Venetianische Lieder” (“Two Venetian Songs”), which became part of t

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Ziyu, Kuang. "Exploring Performance Techniques in Schumann's Piano Suite <i>Papillons</i>." International Journal of Literature and Arts 12, no. 6 (December 23, 2024): 186–92. https://doi.org/10.11648/j.ijla.20241206.16.

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Schumann&apos;s early piano suite &lt;i&gt;Papillons&lt;/i&gt; is a cornerstone of Romantic piano literature and one of the most significant masterpieces of his youth. This work not only represents the evolution of the piano suite as a genre but also reflects Schumann&apos;s artistic maturity and innovative compositional style. Drawing inspiration from the composer’s life, this study explores the historical and cultural context of &lt;i&gt;Papillons&lt;/i&gt;, its musical characteristics, and its role in shaping Romantic performance practices. The articl

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37

MacDonald, Claudia. "Schumann's Piano Practice: Technical Mastery and Artistic Ideal." Journal of Musicology 19, no. 4 (2002): 527–63. http://dx.doi.org/10.1525/jm.2002.19.4.527.

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From the summer of 1830 through the fall of 1831, Schumann worked diligently at the piano with the intention of becoming a professional performer. Beginning in May 1831 he regularly recorded his progress in his diary, describing his repertory, hand position, his aesthetic and technical goals, his frustrations and triumphs. Repeatedly he wrote of the clash between a cherished ideal, nurtured in him as an amateur, of music as an expression from the heart, and what he deemed the routine music making of professionalism——a clash played out in his piano practice until it reached an impasse he was un

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Freeman, Kevin A., Thilo Reinhard, Richard Wigmore, Douglass Seaton, Ruth C. Lakeway, and Robert C. White. "The Singer's Schumann." Notes 48, no. 2 (December 1991): 512. http://dx.doi.org/10.2307/942058.

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Black, Leo, Beate Perry, and John Worthen. "Schumann in Depth." Musical Times 149, no. 1902 (April 1, 2008): 99. http://dx.doi.org/10.2307/25434523.

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Nitschkova-Goleminova, Lilia. "Schumann - Moscheles - Paganini." Die Musikforschung 31, no. 1 (September 22, 2021): 16–28. http://dx.doi.org/10.52412/mf.1978.h1.1766.

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41

Lemco, Gary. "Nietzsche and Schumann." New Nietzsche Studies 1, no. 1 (1996): 42–56. http://dx.doi.org/10.5840/newnietzsche199611/21.

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42

WIECK, Clara. "To Robert Schumann." INTAMS review 3, no. 1 (January 1, 1997): 88–89. http://dx.doi.org/10.2143/int.3.1.2014824.

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Tunbridge, L. "Schumann as Manfred." Musical Quarterly 87, no. 3 (January 1, 2004): 546–69. http://dx.doi.org/10.1093/musqtl/gdh020.

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

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Este trabalho é parte de um projeto de pesquisa mais abrangente, cujo objetivo é a tradução comentada e anotada dos <em>Gesammelte Schriften über Musik und Musiker</em> (Coletânea Integral de Escritos sobre Música e Músicos) do compositor alemão Robert Schumann à luz de sua relação com o Romantismo alemão – literatura e estética – e com os fundamentos da crítica musical. Neste artigo introdutório, procuro oferecer uma visão panorâmica do interesse de Schumann pelas línguas estrangeiras – o cerne de sua formação no <em>Gymnasium</em> de Zwickau – e de sua atividade como

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Artesani, Laura. "Beyond Clara Schumann." General Music Today 25, no. 3 (November 30, 2011): 23–30. http://dx.doi.org/10.1177/1048371311426900.

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Peters, U. H. "P01-242-Composer robert schumann not a bipolar. New sources." European Psychiatry 26, S2 (March 2011): 243. http://dx.doi.org/10.1016/s0924-9338(11)71953-8.

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According to new findings the name of Robert Schumann has to be striked off the list of famous people with bipolar disorder. The author has reviewed hundreds of hitherto unknown sources, daily notes of his psychiatrists, letters, diaries, among others. Schumann turned out to have been an alcoholic, who suffered from delirium tremens, 4 days, misdiagnosed as madness by his physicians. The famous suicidal attempt by jumping into the Rhine was just a floating rumour, not reality. Schumann was admitted to a privately owned madhouse. In spite of all his painstaking he could not free himself. His wi

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Wrobbel, Sibylle, and Wolfgang Seibold. "Rezension von: Seibold, Wolfgang, Clara Schumann in Württemberg (Stuttgart – Wildbad)." Schwäbische Heimat 70, no. 3 (December 23, 2021): 375–76. http://dx.doi.org/10.53458/sh.v70i3.1318.

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Wolfgang Seibold: Clara Schumann in Württemberg (Stuttgart – Wildbad). (Schumann-Studien, Sonderband 7). Studio Verlag Göttingen 2018. 154 Seiten mit 18 Abbildungen. Fest gebunden € 24,–. ISBN 978-3-89564-188-6

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Reimer, Erich. "Zwei Miszellen zur Mendelssohn-Rezeption." Die Musikforschung 57, no. 2 (September 22, 2021): 141–51. http://dx.doi.org/10.52412/mf.2004.h2.665.

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Die Felix Mendelssohn Bartholdys Oratorium "Paulus" (Nr. 16) entnommene Bläserfanfare, die alljährlich während des Libori-Festes in Paderborn als Libori-Tusch erklingt, ist wahrscheinlich 1836, acht Wochen nach der Uraufführung des "Paulus" in Düsseldorf, zum tausendjährigen Libori-Jubiläum in Paderborn eingeführt worden. Als Vermittler kommt der Louis-Spohr-Schüler Otto Julius Gehrke (1807-1878) in Frage. Bei der Bläserfanfare am Ende des vierten Satzes der "Rheinischen Symphonie" von Robert Schumann handelt es sich mit großer Wahrscheinlichkeit um eine Anspielung auf die Bläserzwischenspiele

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Shterev, Yordan. "Change of Schumane Frequencies." Innovative STEM Education 3, no. 1 (June 29, 2021): 164–71. http://dx.doi.org/10.55630/stem.2021.0320.

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This article presents the origin of Schumann frequencies, their measurement and monitoring. The results of their measurements are presented and their diurnal and seasonal variations are analyzed. Application areas of Schumann frequencies are discussed.

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Dörnyei, Zoltán. "THE NEUROBIOLOGY OF AFFECT IN LANGUAGE.John H. Schumann. Oxford: Blackwell, 1997. Pp. xx + 341." Studies in Second Language Acquisition 22, no. 2 (June 2000): 278–79. http://dx.doi.org/10.1017/s0272263100232051.

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During the past decade, John Schumann and his colleagues at UCLA have been pursuing a novel line of research by examining SLA from a neurobiological perspective. Several articles have reported on various phases of this extended program and now The neurobiology of affect in language offers a comprehensive summary of Schumann's theory. As suggested by the title, affect in this book is seen as central to the understanding of SLA. This is because, as the author argues, SLA is emotionally driven and emotion underlies most, if not all, cognition.

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