Bibliografias temáticas / Schumann

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Literatura científica selecionada sobre o tema "Schumann"

Autor: Grafiati
Publicado: 4 de junho de 2021
Última modificação: 1 de agosto de 2024

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Artigos de revistas sobre o assunto "Schumann"

1

Ardura, Bernard. "Robert Schumann — “Father of Europe”". ISTORIYA 12, n.º 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's Christian worldview and his ideas about Christian values that serve the common good and the cause of uniting Europe.
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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, n.º 17 (15 de setembro de 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 methodology determined by its objectives is integrative and based on the combination of general scientific approaches and musicological methods. The leading methods of research are the semantic, compositional-dramaturgic and genre-stylistic analyses. Results. Acquaintance with Robert and Clara Schumann (soon transformed into a romantic friendship) was a landmark, turning point in the life and work of J. Brahms. It was R. Schumann, who at some time first called young Chopin a “genius” and who also predicted to Brahms – at that time (in 1853) to almost no-known young musician – a great future in his latest article “New Ways” (after long literary silence), where the appearance of new genius solemnly proclaimed. The long hours of companionship of Brahms with Robert and Clara Schumann were filled of conjoint piano playing, very often – in four hands. Addiction to the four-handed duet playing was vividly reflected in the creativity of both, Schumann and Brahms. Creativity of J. Brahms is one of the highest peaks in the history of the genre of a four-handed piano duet. A special place among Brahms’ piano four-handed duets is occupied by the only major cyclical composition – the Variations on the Theme of R. Schumann op. 23 in E Flat Major, 1861. Variations op. 23 were written by the composer for the joint four-handed performance by Clara and Julia Schumann – the wife and the daughter of R. Schumann. The author dedicated his composition to Julie Schumann, with whom he was secretly in love at that time. The theme of variations is the melody, which was the last in the creative fate of R. Schumann. This theme was presented to Schumann in his night visions by the spirits of Schubert and Mendelssohn; the composer managed only to write down the theme and begin to develop it on February 27, 1854, on the eve of the tragic attack of madness, which led him to the hospital in Endenich. Brahms’s ethical and aesthetic task was to preserve for humanity the last musical thought of the genius and perpetuate his memory, creating an artistic monument to his great friend and mentor. Brahms’ idea is connected with the composer’s philosophical thoughts about death and immortality, about the meaning of being and the greatness of the creative spirit. This idea is even more highlighted due to the genre synthesis of the “strict tune” of the choral and the mourning march “in memory of a hero”. The level of associativity of each of these genre spheres is extremely high. It includes a huge range of musical and artistic phenomena The significant associative semantic layer of music of Variations is connected, of course, with Robert Schumann’s creativity. Brahms most deeply penetrates into the world of musical thinking of Schumann, turning to the favorite Schumann’s principle of free variation. The embodiment of this idea becomes both the tonal plan of the cycle, and the peculiarities of the genre characteristic of individual variations, and the psychological accuracy of specific figurative decisions, and the logical unity of the artistic whole with emphasizing of semantic significance of private details. In Schumann style, Brahms wrote the first four variations of op. 23. (Strictly speaking, the very idea of a “musical portrait” of a friend and like-minded person comes from the Schumann’s “Carnival” and “Kreisleriana”). Tonalities in the Variations get the semantic importance: E flat major as friendly and bright and E flat minor as intensely passionate. The tonal sphere “E flat major – E flat minor” for Brahms is the symbol of unity of the sublime and earthly, bright and gloomy, tragically passionate and calmly contemplative, it is a kind of image of the Universe, the Macrocosm that created by the individual musical thinking of the composer. The features of philosophical programmaticity of generalized type inherent in the Brahms conception predetermined the peculiarities of the figurative dramaturgy of Op. 23, reflecting the development and interaction of the main emotional-semantic lines of the cycle – lyrical, sublime tragic, fantastic, heroic and triumphal. The circle of the figurative development of the cycle is closed by the Schumann’s theme, creating an intonational-thematic and semantic arch framing the entire composition. The main theme of the Variations acquires here – as a result of a long and tragic dramatic way – features of a lyrical epitaph, a farewell word: “Exegi monumentum” – «I erected the monument»… Conclusions. In general, the music of Variations by J. Brahms on the Theme by R. Schumann is striking in its moral and philosophical depth, the power of artistic and ethical influence, emotional and figurative abundance and significance, compositional completeness and clarity of the dramatic solution. Variations on the theme by R. Schumann are a unique musical monument to the genius of Robert Schumann, created by the genius Johannes Brahms in honor and eternal memory to his great friend and teacher in the name of Music, Friendship and Love.
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Kim, Ji-Young. "A Melody and Its Afterlives in Piano Music by the Schumanns and Brahms". 19th-Century Music 46, n.º 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 people through such means as ciphers, quotations, allusions, and motives. Yet documentary and circumstantial evidence—diary entries and correspondence, private forms of music making (sight-reading and practicing in solo and chamber settings), material culture in the form of giving and receiving flowers, and a little-discussed yet remarkable piano arrangement of Robert’s Piano Quintet, op. 44, by Brahms—suggest that Brahms’s op. 9 quotation of the Schumanns’ melody was meant to recall a shared experience during a poignant moment in the year 1854. Not only to be read and recognized on paper, musical borrowings can gain expressive value as performative acts creating an open-ended field of meaning.
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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, n.º 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, apart from brief mentions, has gone largely unexamined in scholarship about Schumann. Nevertheless, the letters between Schumann and Pohl give valuable insight into what drew both composer and librettist to this subject—and into the questions of identity, confession, and politics that captivated them and their contemporaries. In this article I argue that the Luther oratorio plans offer a prime example of what Alexander Rehding calls “historical monumentality,” characterized by the harnessing of historical figures into symbols of collective political, religious, and social identity. Drawing on perspectives from religious studies to visual culture, I argue that Schumann and Pohl sought to create a musical monument of Martin Luther as a symbol of politically liberal and confessionally Protestant Deutschtum. More broadly, I aim to demonstrate that Schumann’s interest in Martin Luther exemplified the complex interweaving of historicism, confessional legacy, political revolution, and emergent nationalism that guided Schumann’s compositional efforts during his tenure as municipal music director in Düsseldorf (1850–54), with particular emphasis on his active engagement with questions of religion and confession in German society in the years following the 1848 revolutions.
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Ferris, David. "Public Performance and Private Understanding: Clara Wieck's Concerts in Berlin". Journal of the American Musicological Society 56, n.º 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 piano works were not heard again until the year of his death.
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6

Cherniavska, M. S. "Clara Wieck Schumann in the European scientific discourse". Aspects of Historical Musicology 17, n.º 17 (15 de setembro de 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 Österschritt, 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 idea of the scale and aspects of studying such a scientific problem as the analysis of Clara Schumann’s creative heritage to date. It turns out that her phenomenon as a supernova on the German sky made Europeans see a woman in a different way – as a creator, a bright personality, a public figure, a successful performer. The purpose of the article is the description and systematization of European science sources, covering the figure of Clara Wieck Schumann. Research methodology are based on general scientific approaches necessary for the disclosure of the topic, including logical, historical, chronological, source-study methods needed to synthesize and systematize of scientific sources. Results. The figure of Сlara Wieck Schumann – an outstanding female composer, a successful concert pianist, a teacher, a wife, a mother and a Muse of two brilliant composers of Romanticism – was so bright that she was able to break the all previous ideas of that time about the role of a woman in society. This is evidenced by the impressive scale of the interest of researchers to her personality and creativity, the interest, which has not been extinguished in Europe for almost two centuries. Build on the literature of European scientists from different countries devoted to Clara Wieck Schumann, one can come to the conclusion that during her lifetime the work of this prominent woman was arousing the great interest of musicologists and critics (G. Schilling, F.-J. Fétis, H. Riemann), and her musical works were known and demanded. One of the most important issues that are considered in scholarly works is Clara’s personality as a representative of women who have broken the centuries-old ideas and foundations about the place of latter in society. Some of the authors (La Mara, Eva Weissweiler) tried to prove the secondary character of feminine creativity, based on cliché about that Clara Schumann herself was not always sure of the value of her musical compositions. Other researchers (F. Liszt, E. Wickop, C. Dahlhaus) argued that the work of Clara Schumann occupies a special, leading place among the history of well-known women-composers. After the death of the composer interest to her musical creativity began to fade away. Confirmation of this is almost complete absence of her works in concert programs of pianists, and even not a complete edition of the compositions of the musician. Despite this, during the twentieth century, Clara Schumann’s work continues to be carefully studied by the researchers of Germany (B. Litzmann, W. Kleefeld, K. Höcker, R. Hohenemser, A. Meurer, E. Wickop), France (R. Pitrou), England (P. Susskind, J. Chissell, N. Reich). During the last forty years, interest to Clara Wick Schumann’s creativity has grown substantially, possibly due to activation of the feminist movements in the world. Clara became one of the main objects of research about women who wrote and performed musical compositions. The culmination of this process can be called the emergence of the fundamental monograph by Janina Klassen “Clara Wieck-Schuman. Die Virtuosin als Komponistin” (1990), where the composer’s creative efforts are most fully analyzed, as well as valuable references to rare historical sources are given, including the letters from the Robert Schumann’s house in Zwickau, which have not yet been published. Conclusions. Thus, the presented large array of literary sources, being systematized by chronology and the subjects, gives an idea of the state of the studying and analysis of the cultural heritage of Clara Wieck Schumann today. The author hopes that the information collected will ease orientation in finding answers to questions arising to musicologists who explore her creativity. Summing up, we can present the generalized classification of the literature considered. So, Clara’s diaries including the records making by her father and relating to the early period of her creation, give the understanding of how the pianist’s outlook was formed. Estimative judgments about the value of composition as an important area of Clara’s creation should be sought in her epistolary heritage, in particular, in the correspondence with R. Schumann and J. Brahms. At the same place one should to look for the motives and emotional boundaries of her creativity. Answers the many questions that may arise to a performer who interprets of Clara Schumann’s music can be found in the fundamental biographical study by B. Litzmann and the articles by F. Liszt. A large layer of modern researches, which has been published since the 80s of the twentieth century, cannot be discounted as the authors rely on modern methods of analysis. Therefore, it is as if the resolved problems are being considered on a new level: from the research of forgotten pages of “XIX century women’s music” (J. Klassen), new data about Clara’s life outlook formation, and ending with issues of her music style. All these aspects give the opportunity to “collect” the creative and personal “portrait” of a genius woman of the nineteenth century.
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Barthes, Roland. "Amar Schumann". Opus 25, n.º 1 (30 de abril de 2019): 213–16. http://dx.doi.org/10.20504/opus2019a2510.

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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, n.º 2 (30 de outubro de 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 textural patterns, and colorful harmonic twists to complicate the apparently uniform surfaces in order to craft original and powerfully expressive formal designs. Looking both beneath and above the foursquare surface phrasing reveals that Schumann fashions compelling form-functional ambiguities and resolutions, which both enrich the surface Vierhebigkeit and compound the explicit meanings of the song texts.
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White, Stephen. "Fighting the Philistines: Robert Schumann and the Davidsbündler". Musical Offerings 12, n.º 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, Schumann’s music often displayed unique levels of polarity and passion in order to show his own life experiences. Schumann’s mental polarity and instability was directly showcased in his music through the natures of fictional characters Florestan and Eusebius. These characters are clearly displayed though the piano works Carnival and the Davidsbündlertänze. Through the use of modern musical compositional techniques such as chromaticism and syncopation along with clear characterizations of Florestan and Eusebius, the Davidsbündlertänze stands as a testament to the ideals of the Davidsbündler.
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Stewart-MacDonald, R. "Anniversary reflections: Chopin, Schumann and Schumann's circle". Early Music 38, n.º 4 (1 de novembro de 2010): 627–31. http://dx.doi.org/10.1093/em/caq097.

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Teses / dissertações sobre o assunto "Schumann"

1

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 Musikunterricht unternommen. Das Wort „außeraustralisch“ soll eine kulturelle Außenperspektive auf die europäische Klassik-Romantik signalisieren
The article drafts (1) four basical positions to model music in the classroom. For all of them the experience of music is central, but in different ways. They take their starting point from masterpieces, pupils, musical cultur and the situation in the classroom. After (2) an didactic interpretation of the classic-romantic culture of music (3) the article reflects possibilities to model this musical culture as aesthetic practice in the classroom. Only then Robert Schumann moves into the focus as a theme of music in the classroom. The word “außeraustralisch” (out of australia) indicates a perspective at classical music from a foreign point of view
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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.
"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.
"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 Aula des Zwickauer Gymnasiums präsentiert werden.
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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 musical extremamente elaborado. A gravação que acompanha esta dissertação pretende oferecer um esboço de possibilidades para a interpretação dos Lieder analisados.
This paper introduces a musical analysis model which underlies an interpretative possibility of the Lieder - musical form resulting from the fusion of poetry and music - by Clara Schumann, German pianist and composer of the 19th Century. Her role in the musical scenario was quite relevant, since she held first auditions and thus disseminated the works of many contemporary composers, specially her husband, Robert Schumann. The analysis corroborates the high artistic level of these compositions, which bring into contact with issues related to the romantic period in a highly elaborated musical work. The included CD offers interpretation possibilities for the analyzed Lieder.
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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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Livros sobre o assunto "Schumann"

1

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

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2

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

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3

Abraham, Gerald, e 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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9

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

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10

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

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Capítulos de livros sobre o assunto "Schumann"

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Abraham, Gerald, e 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, e 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, e 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, e 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, e 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, e 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, e 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, e 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, e 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, e 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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Trabalhos de conferências sobre o assunto "Schumann"

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Borchard, Beatrix. ""Frau Klara Schumann der besten Sängerin."". In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.81.

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It is well known that Clara Schumann was educated by her father Friedrich Wieck who published his pedagogical essay Clavier und Gesang in 1853. What is less known is that Clara Schumann was not only trained as a pianist, but also as a singer. Furthermore, she had a deep affinity to singers throughout her life. Her own singing competence, her singendes Spiel and the dialogue between Clavier und Gesang – piano and song – which characterized her programme, is also reflected in the piano arrangements of Clara Schumann’s songs.
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DIAO, Ke. "A Study on the Music and Writing Characteristic of Robert Schumann's Diechterliebe". In 2021 International Conference on Culture, Literature, Arts & Humanities. Clausius Scientific Press, 2021. http://dx.doi.org/10.23977/icclah2021021.

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Schumann's Diechterliebe is deep in annotation explanatory note of the poem, accurate. Schumann is good at portraying the fine and smooth emotion of heart, he has expanded the vocal music and created the tactics with their fresh styles, make art song vocal music sing between part and piano accompany partly organic to combine, inseparable, undertaking to demonstrate the mission of the real intension of poems together.
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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin". In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.
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Wang, Xuan, Yi Zhao, Xianfeng Chen, Junling Chen e Jingbo Guo. "Design of Schumann resonance generator and detector". In 2017 IEEE 5th International Symposium on Electromagnetic Compatibility (EMC-Beijing). IEEE, 2017. http://dx.doi.org/10.1109/emc-b.2017.8260360.

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Kim, Ji Young. "Clara Schumann and Jenny Lind in 1850". In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.85.

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Clara Schumann’s 1850 tour of northern Germany with her husband officially ended with a successful concert in Altona where Jenny Lind made a surprise appearance. Immediately thereafter, one more concert featuring the pianist, singer, and Robert’s music was added at the last minute to take place in Hamburg. This too was a success. But a detail that made it especially memorable was Lind’s position behind the piano lid so that, as Clara recounted in her diary, many audience members could hardly catch a glimpse of her. This paper explores the rationales and implications of this singular and fleeting moment, and teases out aspects of the two star performers’ relationship both on and off the stage. In the process, the paper draws attention to hitherto neglected variables in the performance practice of Lieder and seeks to expand our lines of inquiry with regards to the 19th-century Lied as cultural practice.
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Kolmakov, Alexander A., e Sergey Kolesnik. "Polarization characteristics of Schumann resonances in Tomsk". In XXIII International Symposium, Atmospheric and Ocean Optics, Atmospheric Physics, editado por Oleg A. Romanovskii. SPIE, 2017. http://dx.doi.org/10.1117/12.2286880.

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Lyakhov, Andrey N., Egor S. Goncharov e Tatiana V. Losseva. "Experimental and theoretical study of Schumann resonance". In 28th International Symposium on Atmospheric and Ocean Optics: Atmospheric Physics, editado por Oleg A. Romanovskii e Gennadii G. Matvienko. SPIE, 2022. http://dx.doi.org/10.1117/12.2644767.

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Link, Martin. "Signum et gens – Zur Gendersemiotik in Clara und Robert Schumanns Liederzyklus Liebesfrühling". In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.62.

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The marriage between Clara and Robert Schumann is one of the most popular relationships in music history. In 1840, a song cycle named Liebesfrühling with songs from Clara Schumann as well as from her husband was collectively published under their names. Despite the fact that the married couple did not specify the voice register and gender of the vocal parts within the score, some hints indicating the gender of the personas can be found for instance in the personal pronouns of the text. Yet, some parts of the song cycle do not provide such clues, leaving the question, to which gender the vocal parts are ascribed, completely open. Nevertheless, some scholarly examinations like Melinda Boyd’s publication Gendered voices. The “Liebesfrühling” Lieder of Robert and Clara Schumann try to answer this question using semiology as a method to indicate gender assignments. However, this raises the question of how far gender aspects can be examined through semiotic approaches. What symbols are used to specify gender? Did this change in history? And can these ascriptions be found in the music of Clara and Robert Schumann? The chosen method will show difficulties because of its time-constraint and the problem of relevancy. This is why the proposed theses of Boyd will be inspected regarding the text and the score of the song cycle Liebesfrühling. At the same time, the investigation will try to consider the importance of contemporary performance practice.
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Cao, Bingxia, Jinghong Xue, Hongjuan Zhou e Jingjing Zhang. "Discussion on Schumann Resonance Measurement and Data Processing". In 2016 International Conference on Intelligent Control and Computer Application (ICCA 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icca-16.2016.105.

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Jelonek, Jonas, Jonas Stephan, David Bochmann e Lars Gebken. "BEXUS30 – ELFI: Measuring Schumann resonances in the atmosphere". In Symposium on Space Educational Activities (SSAE). Universitat Politècnica de Catalunya, 2022. http://dx.doi.org/10.5821/conference-9788419184405.043.

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The ELFI project was one of nine BEXUS experiments carried in two stratospheric balloons in 2021. The aim of the experiment was to develop a system for the non-stationary measurement of electromagnetic waves in the extremely low frequency range. The Schumann resonances that are part of this range are especially important for meteorological research. For the planned use of the system on a stratospheric balloon, various requirements and aspects regarding the measurement environment had to be considered during the development. The system is based on a magnetic loop antenna connected to a signal processing unit, the Analog Front-End. The antenna has special characteristics to enable the measurement of Schumann resonances. Due to the necessary high sensitivity of the antenna, a deployment mechanism was developed to lower the antenna for the measurement, thus reducing the influence of interference from the electronics or actuators of other experiments on the gondola. After the balloon is launched, the mechanism is extended, and the antenna is lowered below the gondola. The Analog Front-End has several stages that filter, amplify and digitalize the signal measured with the antenna. An on-board computer, built from reliable general-purpose hardware, performs the measurement, organizes and stores the measurement data, and provides communication with the ground station. Hence, monitoring and control of the experiment through the ground station was possible. In addition, an algorithm for automatic gain control was integrated to allow flexible measurement of different amplitudes. In several testing periods the system was validated for functionality and reliability. Through numerous preliminary tests, frequencies from reference sources could be detected, e.g., 50 Hz of the power supply network or 16.67 Hz of the railroad power supply. Underground measurements confirmed that the system is suitable for detecting low frequencies. Furthermore, the system was tested and confirmed to be usable under extreme conditions like low temperatures and low air pressures. The developed deployment mechanism with scissor arms was proved to be robust and flexible. Both hardware and software worked as expected and are reliable and adaptable to different conditions. During final tests in an almost interference-free area our system was able to record optimal signals, in which the Schumann resonances could be detected. Based on these successful results, the system was ready to be deployed on the stratospheric balloon to perform measurements in the atmosphere
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Relatórios de organizações sobre o assunto "Schumann"

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Musur, M. A., e 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, outubro de 2019. http://dx.doi.org/10.31401/sungeo.2019.01.11.

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, agosto de 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 the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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