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Teses / dissertações sobre o tema "Schumann"

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

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Preiss, Friederike. "Der Prozess : Clara und Robert Schumanns Kontroverse mit Friedrich Wieck /". Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2004. http://catalogue.bnf.fr/ark:/12148/cb392786527.

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12

Tseng, Shih-Chen. "Literary characteristics hidden in Schumann's piano music : taken from mutually-related ideas of E.T.A. Hoffmann and Robert Schumann /". Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11309.

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13

Bromen, Stefan Nauhaus Gerd. "Studien zu den Klaviertranskriptionen Schumannscher Lieder von Franz Liszt, Clara Schumann und Carl Reinecke /". Köln : Studio, 1997. http://catalogue.bnf.fr/ark:/12148/cb36966299w.

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14

Hartmann, Andrea, e Carmen Rosenthal. "Die musikalischen Blätter aus dem Schumann-Album in der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) : Thematischer Katalog". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61887.

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15

Nistal, Freijo Ana Isabel. "Robert Schumann: “o autor prolongado” Implicações do pensamento do primeiro romantismo alemão no Lied de Schumann". Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2013. http://hdl.handle.net/10362/9217.

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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Filosofia (Área de especialização Estética)
A presente dissertação estabelece um estudo comparativo da obra musical e literária de R. Schumann com as contribuições fragmentárias dos primeiros românticos, Schlegel e Novalis. Quer em Schumann, quer em Schlegel e Novalis, analisamos o processo de crítica que desenvolvem, servindo-nos do ciclo de canções Frauenliebe und –leben op.42 como estudo de caso. Na análise desta obra sintetizamos a expressão crítica – literária e musical – do compositor, dilucidando o novo tratamento poético-musical que Schumann leva a cabo nos seus ciclos de Lieder. Esta reconfiguração da relação que se estabelece entre a fonte poética e a musical, levou-nos a considerar o compositor como um “segundo poeta” ou “autor prolongado” dos poemas, equiparando o seu tratamento liederístico à acção crítica fragmentária dos primeiros românticos.
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16

Gouveia, Luiz Gustavo Netto. "A música programática de Robert Schumann : Carnaval opus 9". Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13751.

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Mestrado em Música
Este trabalho propõe uma diferente interpretação do Carnaval op.9 de Schumann no âmbito da música programática do Romantismo, buscando a relação mais próxima entre as peças que constituem a obra e as figuras e alusões nela representadas pelo compositor. Tencionei realizá-lo dentro do contexto histórico da época em que a obra foi composta, a fim de criar também um material historicamente informado que contribua para a otimização interpretativa do repertório schumanniano. O estudo é apresentado em forma única. Possui uma contextualização do compositor e explicação sobre a obra, logo em seguida são apresentadas as sugestões interpretativas para cada uma das vinte e duas peças do Carnaval op.9. A investigação possui também um objetivo secundário que é fornecer ideias que estão além da partitura.
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17

Blasch, Kyle William. "Analysis of the Earth's Schumann resonance". Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/12122.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Earth, Atmospheric, and Planetary Sciences, 1994.
Includes bibliographical references (p. [193]-[198]).
by Kyle William Blasch.
M.S.
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18

Loos, Helmut. "Der deutsche Schumann. Wandlungen eines Künstlerbildes". Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21373.

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Der Umgang mit einem Komponisten der Vergangenheit in der 'ästhetischen Gegenwart' wirft immer wieder die Frage nach der Angemessenheit des Verständnisses auf, nach einem verbindlichen Bild, das ihm Gerechtigkeit widerfahren lässt. Hier ist streng zu trennen zwischen der wissenschaftlichen Darstellung gesicherter Erkenntnisse einerseits und andererseits Aussagen zur Aktualität bzw. zum richtigen Umgang mit einer Komponistenpersönlichkeit in einer bestimmten Situation, die einen starken moralischen Aspekt beinhalten. Die Moralität eines kulturpolitischen Engagements kann nach einem historisch-kritischen Wissenschaftsverständnis nicht Gegenstand der Beschäftigung sein, der Wissenschaftler abstrahiert hier so weit als möglich von seiner eigenen Person und unterscheidet sich darin vom Kunstrichter oder Kritiker. Dies muss sich auch gegenüber einem so weitgehenden Missverständnis eines Komponisten bewähren wie der nationalsozialistischen Vereinnahmung Schumanns. Es geht nicht darum, dies zu verurteilen, wohl aber können die Verformungen festgestellt und beschrieben werden, die das Schumann-Bild erfahren hat. Solche Momentaufnahmen einer Künstlerrezeption können in großer Anzahl erfolgen und zusammengesetzt einen historischen Prozess dokumentieren. Im Grunde ist selbst der Versuch, die historische Situation des Künstlers zu beschreiben, eine ähnliche Aufgabe.
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19

Schumann, Fabian [Verfasser]. "Die Unternehmensgruppe im Insolvenzrecht / Fabian Schumann". Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://d-nb.info/1212396251/34.

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20

Kobayashi, Noriko. "Robert Schumann : his mental illness and his music /". Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11352.

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21

Ferrarese, Piero [Verfasser], Steffen [Akademischer Betreuer] Schumann, Arnulf [Gutachter] Quadt e Steffen [Gutachter] Schumann. "Phenomenology at a future 100 TeV hadron collider / Piero Ferrarese ; Gutachter: Arnulf Quadt, Steffen Schumann ; Betreuer: Steffen Schumann". Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2018. http://d-nb.info/1154590119/34.

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22

Schumann, Michael [Verfasser]. "Die mukosale Barriere bei Zöliakie / Michael Schumann". Berlin : Medizinische Fakultät Charité - Universitätsmedizin Berlin, 2020. http://d-nb.info/1221599925/34.

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23

Silva, Eliana Maria de Almeida Monteiro da. "Clara Schumann: compositora x mulher de compositor". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-05072009-234006/.

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Clara Josephine Wieck, Clara Schumann após o casamento com o compositor Robert Schumann, foi das poucas crianças-prodígio que asseguraram sua fama e reconhecimento como virtuosas do piano por toda a vida. A história de sua longa carreira como concertista (63 anos), reflete a história da vida musical do século XIX. E seu nome aparece como grande influência na mudança de hábitos que se deu entre seu primeiro recital público, em 1828, e o último, em 1891; em termos de escolha de repertório, programação de turnês, os papéis desempenhados pela criança-prodígio e pela mulher profissional, além da atitude do público frente às propostas musicais que surgiam por vezes, antagônicas. Como compositora, porém, sua atuação não alcançou as mesmas proporções, apesar de suas peças terem agradado não só ao público, mas também a grandes mestres de seu tempo como Robert Schumann, Félix Mendelssohn, Frederick Chopin, Franz Liszt e Johannes Brahms, por exemplo. As dificuldades por que passou durante a vida a fizeram escolher entre a criação e a performance, ao que ela optou pela segunda, sem remorsos. Seus relatos atestam que a prática do instrumento, o contato com o público e a satisfação de divulgar obras cuja importância, como conhecedora do métier, sabia reconhecer, faziam parte de sua própria essência como indivíduo. Ademais, composições feitas por mulheres não eram incentivadas nem levadas a sério na primeira metade do século XIX, e a própria Clara Schumann era insegura em relação à qualidade da sua obra. Este trabalho vem demonstrar que a criação musical de Clara Schumann, relegada a um segundo plano pela própria compositora, merece ser tão divulgada como a de qualquer outro compositor do século XIX, uma vez que discute as mesmas questões propostas por eles, com um nível elevadíssimo de elaboração. Um breve histórico comentado de suas composições e a análise de seu ciclo de variações Op. 20 atestam a excelência de sua obra.
Clara Josephine Wieck, or Clara Schumann after her marriage with composer Robert Schumann, was one of the very few prodigy-children who could keep their fame and recognition as virtuosi of the piano in their lifetime. The history of her long career as a pianist (63 years) reflects the musical life of the 19th century. Her name appears as being of great influence in the change of habits that occurred between her first public concert, in 1828, and the last, in 1891 - in terms of choice of repertoire, schedule of concert seasons, the roles played by the prodigy-child and the professional woman, besides her attitude towards the audience in relation to new musical propositions, at times very antagonistic. However, as a composer, her fame did not achieve the same proportions, in spite of her pieces having pleased not only the audience, but also great masters of her time, such as Robert Schumann, Félix Mendelssohn, Frederick Chopin, Franz Liszt and Johannes Brahms. The difficulties she faced during her life made her choose between creation and performance, making her stick to the latter, without any regrets. Her testimonies speaking of the practice of the instrument, the contact with the audience and the pleasure she gained in divulging works which importance she recognized (being a connoisseur of her métier) were part of her own essence as an individual. Besides, compositions made by women were not stimulated, nor even seriously taken into consideration in the first half of the 19th century. Clara Schumann herself had doubts on the quality of her works. This work intends to make visible that Clara Schumanns musical creation, left to a second plane by the composer herself, deserves to be acknowledged as the composition of an important composer of the 19th century, for it deals with the same issues proposed by her contemporaries in a very elaborate way. A brief commented narrative of her compositions and the analysis of her cycle of variations Op. 20 are proof of the excellence of her work.
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24

Havard, Liliane. "Création musicale et psychose chez Robert Schumann". Nantes, 2008. http://www.theses.fr/2008NANT3027.

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Robert Schumann (1810-1856) n’est pas issu d’une famille de musiciens, il a tout mis en œuvre pour le devenir et ceci de façon très déterminée. La recherche de la solitude, ses rapports à la femme, les hallucinations auditives, les laisser tomber de ses maîtres, l’appel au père nous ont permis d’opter pour une structure psychotique. Les limites de la jouissance ne s’imposent plus pour lui de sorte qu’il se trouve lié à la jouissance de l’Autre illimitée, énigmatique, non régulée par le signifiant phallique. Le langage musical est un autre registre porteur de signification du lien que l’artiste entretient avec l’Autre. Il est en prise avec un langage qui court-circuite le langage articulé. Mais à un moment donné la création ne suffit plus, ça ne tient plus et il sort des rails du lien social. L’oeuvre va maintenir le sujet dans la création et le lien social mais jusqu’à un certain point. La musique qui le tenait a lâché, ce qui faisait sinthome ne tient plus. Les derniers témoins parlent de l'état étrange du musicien avant son internement (avril 1854), il était dans une sorte de confusion avec la musique
Robert Schumann (1810-1856) was not born into a family of musicians. He did everything he could to become one and showed great determination to this end. His search for solitude, his relations to woman, his auditory hallucinations, the foundering of his relation to his masters and his appeal to the father brought us to infer a psychotic structure. The limits of jouissance no longer restricted him, so that he found himself yoked to the unlimited, enigmatic jouissance of the Other, which is not regulated by the phallic signifier. Musical language is another register bearing the signification of the bond that the artist maintained with the Other. He was confronted to a language that short-circuited articulated language. But at a given moment, creation no longer sufficed; things fell apart and he disconnected from the social bond. His oeuvre maintained the subject within creation and the social bond, up to a certain point. The music that had permitted him to hold together gave way; that which was serving as his sinthome no longer had effect. The last witnesses speak of the strange state of the musician before his internment (April 1854), a state of a sort of confusion with music
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25

Burger-Güntert, Edda. "Robert Schumanns "Szenen aus Goethes Faust" Dichtung und Musik". Freiburg i. Br. Berlin Wien Rombach, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2867480&prov=M&dok_var=1&dok_ext=htm.

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26

Paoletti, Karl. "Scenen aus Goethes Faust a performer's analysis /". connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9053.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recordedNov. 24, 2003, June 5, 2006, and June 17, 2008. Includes bibliographical references (p. 40-41).
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27

Grolik, Yvonne. "Musikalisch-rhetorische Figuren in Liedern Robert Schumanns /". Frankfurt am Main : Haag und Herchen, 2002. http://catalogue.bnf.fr/ark:/12148/cb39173236h.

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28

Vachon, Pierre. "Essai de titrologie musicale : Carnaval, op. 9, Kreisleriana, op. 16, et autres titres d'oeuvres pour piano seul de Robert Schumann /". [Montréal] : Université de Montréal, 2003. http://wwwlib.umi.com/cr/umontreal/fullcit?pNQ92775.

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Thèse (Ph.D.) -- Université de Montréal, 2004.
"Thèse présentée à la Faculté des études supérieures en vue de l'obtention du grade de Docteur en musicologie (Ph.D.)" Version électronique également disponible sur Internet.
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29

Laugier-Chabaud, Frédérique. "Robert Schumann : Journaux et notes de voyage 1827-1830". Rouen, 1988. http://www.theses.fr/1988ROUEL068.

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Cette étude s'appuie sur des documents autobiographiques insuffisamment exploités jusqu'à leur récente première publication intégrale, et tente d'élucider une période complexe et cruciale : la fin de l'adolescence, notamment les années pendant lesquelles l'étudiant Schumann se donne le surnom de "Hottentot". Elle s'achève avec le choix de la carrière musicale. La première partie est consacrée à la présentation de ces écrits, qui apparaissent comme le témoignage le plus fidèle sur la vie intérieure et la vie quotidienne de leur auteur, malgré leur difficulté due à la forme généralement fragmentaire du récit et au désordre de la notation. Deux tableaux sont élaborés, l'un analytique, l'autre chronologique, qui se veulent des guides utiles pour une lecture du volume I des journaux. L'enquête psychologique et biographique menée dans la seconde partie se fonde sur l'analyse des journaux de 1827 à 1830, et sur leur confrontation avec d'autres sources, dont la correspondance, tout en nécessitant des incursions dans le passé et l'avenir du musicien. Nous nous attachons à reconnaitre et interpréter les signes du conflit intérieur qui marque toute sa jeunesse, à observer son évolution et le processus de maturation qui rend finalement possible une seconde naissance. Schumann, à l’âge de vingt ans, sort victorieux du combat entre prose et poésie
This study exploits some autobiographical documents insufficiently utilized up to their recent first complete publication, and tries to elucidate a complex and crucial period : the end of adolescence, particularly those years when Schumann as a student gives himself the nick-name "Hottentot". It ends up with his choice of a musical career. The first part develops a representation of those writings, which appear to be the most exact testimony about the interior life and the quotidian life of their author, notwithstanding difficulties caused by the generally fragmentary narrative and the inconsistency of the notation. Two synopsis are presented, one analytical, the other chronological, which aim at providing useful guides to a reading of the volume I of the diaries. The psychological and biographical inquiry in the second part is founded on a survey of the diaries covering the years 1827 to 1830, which are confronted to other source materials, notably the correspondence, and completed by necessary excursions into past and future of Schumann life. We particularly try to identify and interpret the symptoms of that inner conflict which weighed upon his whole youth, to follow its development, and the maturation process which ultimately makes possible a second birth. Schumann, aged twenty, ends up victor in the long fight between prose and poetry
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30

Moon, Geoffrey. "The inner musical workings of Robert Schumann, 1828-1840 : in two volumes". Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phm817.pdf.

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A thesis which examines Schumann's secret musical language and the development of that language into a highly complex system of extra-musical meanings expressed in tones, special motifs, harmonic progressions and keys. This study traces the development of Schumann's procedures by first analysing the songs of 1840 to see which repeated musical devices connected with texts. Once they have been identified, the application of these devices is then examined, retrospectively, in selected works for solo piano. Relying heavily on Schumann's diaries and letters, as well as a detailed analysis of selected works for voice and solo piano, this study shows the extra-musical meaning to be ultimately concerned with Schumann's wish to marry Clara Wieck and her father's unyeilding opposition to the idea.
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31

Norlöv, Matilda. "Johannes Brahms opus 108". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1923.

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Detta examensarbete utgår från Johannes Brahms liv och bakgrund för att analysera och tolka hans Sonat för violin och piano Op. 108. En strukturell och delvis harmonisk analys beskrivs därefter samt en utläggning för hur styckets svårigheter angrips ur ett speltekniskt perspektiv. Syftet med studien är att få en helhet och överblick över sonaten både strukturmässigt men även att förstå kompositörens tonspråk med dess influenser och tankar kring musiken. Studiens resultat är en förståelse för hur musiken tolkas och hur inlärningsprocessen ser ut.

Johannes Brahms - Sonat för violin och piano op. 108

Matilda Norlöv Violin

Thomas Rudberg Piano

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32

Synofzik, Thomas. "Verborgene Schätze". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-39060.

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In Zwickau befinden sich unter einem Dach das Schumann-Museum, das Geburtshaus des großen Komponisten, der Konzertsaal und das Forschungszentrum. Anlässlich des 200. Geburtstages von Robert Schumann werden fast 50 Kostbarkeiten, die sonst hinter Tresortüren verschlossenen sind, in fünf Vitrinen ausgestellt. Neben Bildern, Erinnerungsstücken, Handschriften und Dokumenten sind auch die kompletten Tagebücher Robert Schumanns, die Jugendtagebücher von Clara Wieck und die in Leipzig geführten Ehetagebücher zu sehen.
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33

Fernandes, Ana Cristina Pereira. "A música para piano de Clara Schumann: uma perspetiva analítica". Master's thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/16163.

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Este trabalho de projeto foca-se na música para piano de Clara Schumann. Contextualiza as obras da compositora na sua biografia e analisa as formas, tonalidades, texturas, temas e influências usadas na música para piano; ABSTRACT: This research project focuses on the piano music of Clara Schumann. It contextualizes her works within her biography and analyses them in terms of form, key, texture, theme and influence.
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34

Neergaard, Balder Blankholm. "Schumann as aspiring pianist : technique, sonority, and composition". Thesis, Royal College of Music, 2018. http://researchonline.rcm.ac.uk/389/.

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In recent decades, the pianism of Robert Schumann's compositions has increasingly gained recognition. What was previously seen as dense and mid-keyboard centric is now recognised as ground-breaking in terms of sonorous invention, informed by an intimate understanding of the instrument and its playing techniques. Yet, as pianist Schumann has received little credit, primarily due to a short-lived and relatively unsuccessful career. This thesis aims to explore this seeming paradox. I shall argue that Schumann developed rarely discussed concepts of imagined sound and tactile feedback during his days as aspiring pianist (1828-1831), and that these became integral to the pianistic style of his earliest published compositions. Following a general overview of the historical and biographical contexts for this study, I will trace Schumann's piano practice to establish his overall artistic aims and the primacy of sonority in this regard. This leads to an investigation of his ideals of tone to locate Schumann within prevailing schools of piano playing and of piano making around 1830. Acknowledging his comprehension of playing mechanics, I observe that during an 1831 crisis which preceded his much-debated hand injury, his technique suffered from a series of insurmountable issues relating to the right hand. Disabled as performer, Schumann realised his virtuoso aspirations in his capacity as composer. Two case studies featuring the Abegg Variations op. 1 and Papillons op. 2 demonstrate his use of sound-audible and imagined-to elevate the mechanical virtuosity of piano playing into a virtuosity of the imagination. Not only does this demonstrate a transfer of sound concepts from performance to composition; it offers a timely reassessment of Schumann's pianistic merits and presents new interpretational paths for future performances of his piano music.
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35

Mott, Maxine Elizabeth. "The choral works of Robert Schumann (1810-56)". Thesis, University of Birmingham, 1991. http://etheses.bham.ac.uk//id/eprint/261/.

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Schumann's choral music provides a focus for an account of his later compositional career. Various original contributions to research are made. The Handelian influence behind his early choral writing is identified in Das Paradies und die Peri. An account of Schumann's choral societies gives an insight into the smaller-scale works. The Manfred music and the Corsar fragment show his use of melodrama. The Faustscenen are illuminated by the occasions which inspired them, especially the 1849 Goethe Festival. The unachieved oratorio Luther is described; and in Der Rose Pilgerfahrt the Biedermeier influence on Schumann is demonstrated. The Mass and Requiem show his response to Dusseldorf liturgical practice, and the four choral ballads stand on the threshold of opera, if not music drama. Consideration of Schumann's libretti shows his obsession for a type of redemption drama, possibly influenced by his struggle in the late 1830s to marry Clara Wieck. Appendices contain a worklist and select list of MS. sources; relevant diary entries; synopses of the narrative works; transcriptions of unpublished or unavailable works from 1847 and 1848; a transcription of Schumann's Luther scenario; the repertoire of his choral societies; and information on the size of his orchestra.
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36

Nakachi, Makiko. "R. Schumann: Klavírní koncert A-moll op. 54". Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2005. http://www.nusl.cz/ntk/nusl-78809.

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In my dissertation I´ve written about Romanticism, music in Romantic period, life of Schumann and his approach to the composition. I´ve also made an analysis of Schumann´s piano concerto in A minor, op. 54.
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37

Ehrhardt, Damien. "La variation chez Robert Schumann : forme et évolution /". Villeneuve d'Ascq : Presses universitaires du Septentrion, 2000. http://catalogue.bnf.fr/ark:/12148/cb37204253s.

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38

Tomimura, Fernando. "Robert Schumann e o Dichterliebe - aproximação e distanciamento na unidade poético-musical". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-02092015-144609/.

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Este estudo sobre o ciclo de canções Dichterliebe opus 48 de Robert Schumann aponta para uma série de procedimentos composicionais que evidenciam o estreito vínculo entre os léxicos poético e musical, a relação do compositor com a estética do fragmento e a excepcional complexidade da escrita schumanniana na construção do ciclo. Nesse sentido e fazendo uso da análise de cada canção, o trabalho trata das características idiomáticas de Schumann no intuito de compreender, de forma mais profunda, o processo composicional do Dichterliebe. O estudo analítico intenta dar suporte às questões de ordem interpretativa. Aspectos da hermenêutica na análise como a interação da memória musical, construção de estados psicológicos sugeridos pelo texto e amplificados pela música, interferências e transmutações dos códigos literário e musical são tratados de forma primacial, na busca de uma abordagem coerente que possa servir de parâmetro para uma interpretação, favorecendo tanto a execução como uma escuta ativa, ainda que tal interpretação seja passível de discussões e novas interpretações.
This is a study on Robert Schumann\'s song cycle Dichterliebe opus 48. It points to a series of compositional procedures which emphasize a close link between Schumann\'s poetical and musical lexicon, his relation with the aesthetics of fragment and the extraordinary complexity of his writing in composing the cycle. In this regard, through an analysis of each song, this work addresses Schumann\'s idiomatic features to provide a deeper understanding of his compositional process in Dichterliebe. The analytical study aims at supporting interpretative issues. Special attention is devoted to some aspects of hermeneutics in analysis -- such as musical memory interaction, construction of psychological states suggested by the text and amplified by the music, interference and transmutation of musical and literary codes. This is done in the pursuit of a coherent approach which will serve as a pattern for interpretation, being helpful for both performance and active listening, although such interpretation might be the subject of discussions and new interpretations.
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39

Schumann, Marc Angelo. "Leaving". Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Summer2009/m_schumann_060109.pdf.

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40

Schumann, Christian [Verfasser]. "Die zweiseitig gespeiste Axialflussmaschine mit eisenlosem Rotor / Christian Schumann". Aachen : Shaker, 2016. http://d-nb.info/1094396451/34.

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41

Schumann, Marco [Verfasser]. "Architektur und Applikation verteilter, VR-basierter Trainingssysteme / Marco Schumann". Aachen : Shaker, 2010. http://d-nb.info/1104047322/34.

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42

Luck, Werner. "Erich Schumann und die Studentenkompanie des Heereswaffenamtes - Ein Zeitzeugenbericht". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-140268.

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43

Malá, Michaela. "Významné ženy u klavíru - Klára Schumann, Fanny Mendelssohn Hensel". Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79440.

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This work focuses on several women who have put their´s minds to classical music. They have succeed at the highest level and they have shown a tremendous passion about what they have been doing. This work tells the reader the life stories of the following women, Clara Schumann, Fanny mendelssohn, Martha Argerich and Jitka Čechová. It shows their successes, major concerts, compositions they have written and their strong feelings for music. You can also find here the benefits they have brought to classical music and all their activities which helped the industry.
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44

Luck, Werner. "Erich Schumann und die Studentenkompanie des Heereswaffenamtes - Ein Zeitzeugenbericht". Technische Universität Dresden, 2001. https://tud.qucosa.de/id/qucosa%3A27880.

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45

Laugier-Chabaud, Frédérique. "Robert Schumann journaux et notes de voyage, 1827-1830 /". Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376150463.

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46

Berry, Jane M. "Reinterpreting Schumann: A Study of Large-Scale Structural and Atmospheric Associations in Schumann's 'Frauenliebe und -leben' and 'Dichterliebe' Song Cycles". Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20102.

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The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers’ application concentrates on recognizing underlying “atmospheres” and forms of acceleration. Each application is applied to Schumann’s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations.
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47

Lindberg, Kajsa. "Ett naturligt berättande : hur ord, bildning och musikalisk intuition samverkar och tillämpas i en instuderingsprocess av ett verk och i själva utvecklingen av konstnärskapet som sångerska". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2131.

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Hur berättar man en historia med sin röst?   De flesta konstarter är berättande, och särskilt tydligt är det för de utövare som använder sig av ord som en del av sitt uttrycksmedel. Denna text är ett undersökande av vilka grundläggande drivkrafter som fört mig, från att vara ett nyfiket och spontant musicerande barn, till en skolad klassisk sångerska. Jag ställer mig frågan varför detta har varit och är viktigt för mig som person och hur min personlighet, i kombination med användandet av min röst, har påverkat och påverkats av mitt konstutövande.   Genom att använda mig av kunskaper inom berättarkonsten, såsom litteratur och skådespeleri, har jag vid instuderingen av Robert Schumanns sångcykel Frauenliebe und Leben op. 42, försökt finna en balans mellan det naturliga och det inlärda i mitt uttryck. Utdrag från varje sång lyfts fram och belyses utifrån textliga och musikaliska aspekter, likaså samspelet mellan sång- och pianostämman.    Vidare undersöker jag hur jag kan gestalta känslor och idéer från en annan tid, utan att sätta min nutida moraliska uppfattning främst. Denna frågeställning tar jag upp i samband med en kortare djupanalys av samtiden kring Clara och Robert Schumann, och denna analys har även färgat interpretationen av verket på ett, för mig, intressant sätt.   Texten avslutas med ett avsnitt som behandlar begreppen bildning och intuition och hur dessa kan, eller bör, sammanstråla i ett professionellt konstutövande generellt, och med fokus på mina resultat under mitt arbete specifikt. Jag ställer mig även frågan vilka lärdomar jag dragit under arbetet, och vilken inverkan detta kan ha på mitt framtida konstutövande.

Robert Schumann, Frauenliebe und leben op. 42

Kajsa Lindberg, sopran

Matilda Lindholm, piano

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48

Jacobsen, Heike. "Robert Schumanns Chorballaden nach Texten von Ludwig Uhland". [S.l. : s.n.], 2002. http://deposit.ddb.de/cgi-bin/dokserv?idn=964099985.

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49

Loos, Helmut. "Robert Schumann: Persönlichkeit, Werk und Wirkung ; Bericht über die Internationale Musikwissenschaftliche Konferenz vom 22. bis 24. April 2010 in Leipzig". Gudrun Schröder, 2011. https://ul.qucosa.de/id/qucosa%3A21035.

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Nach mehreren musikwissenschaftlichen Konferenzen, die sich anlässlich der Jubiläumsjahre 2006 und 2010 Einzelaspekten des Phänomens Robert Schumann gewidmet haben, wurde mit der hier dokumentierten Veranstaltung der Versuch einer übergreifenden Würdigung von Persönlichkeit, Werk und Wirkung unternommen. Um ein möglichst breites und unverstelltes Bild der gegenwärtigen Schumann-Forschung zu ermöglichen, wurde den Referenten der Konferenz weitgehende Freiheit bei der Wahl ihrer Themen eingeräumt. So hat sich eine Folge von Beiträgen ergeben, die nach den übergeordneten Bezugspunkten geordnet worden sind. Dabei ergeben sich reizvolle Bezüge und Spannungen insbesondere zwischen den Beiträgen, die Aspekten der Biographie und der Kunstanschauung gewidmet sind. Werkbezogene Artikel finden sich als gewissermaÿen vermittelnde Instanz darin eingebettet. Damit wird einmal mehr die Notwendigkeit unterstrichen, die verschiedenen Aspekte in ihrem unlösbaren Zusammenhang zu betrachten, weder die 'Persönlichkeit' des historischen Menschen Schumann noch das 'autonome' Werk zu verabsolutieren.
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50

Delannoy, Sylvine. "Incidence du Märchen sur l'énonciation musicale des Märchenbilder opus 113 (1851) et des Märchenerzählungen opus 132 (1853) de Robert Schumann". Saint-Etienne, 2008. http://www.theses.fr/2008STET2156.

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De nombreux travaux ont montré que les liens entre la littérature et la musique sont indissociables dans la pensée mais également dans la musique de Robert Schumann (1810-1856). Dans la continuité de ses travaux, nous proposons d'étudier l'incidence du Märchen sur l'énonciation musicale des Märchenbilder (Images de contes) pour alto et piano opus 113 (1851) et des Märchenerzählungen (Récits de contes) pour clarinette, alto et piano opus 132 (1853). Dans quelle mesure ces pièces manifestent-elles un type spécifique d'organisation du musical dont le Märchen des poètes serait le schème ? L'enjeu de ce questionnement est important. L'idéal de fusion entre la poésie et la musique, aspiration ultime des artistes romantiques, conduit à un renouvellement complet de la formulation musicale. Or, les Märcheninstrumentaux de Schumann incarnent de manière exemplaire la contribution du compositeur à cette problématique spécifiquement romantique, mieux connue et plus étudiée chez Liszt ou Wagner. Les différents aspects de la relation de la musique à son modèle littéraire sont examinés à travers une analyse détaillée des opus 113 et 132. Un corpus de Märchen défini en fonction des textes que connaissait Schumann constitue le substrat de notre étude. Nous envisageons dans la musique les incidences du Märchen entendu tout à la fois comme narration au sens large, mais également comme déroulement poético-structurel spécifique, comme récit de tradition orale, ou encore comme déploiement d'un univers poétique exprimant idéalement les aspirations du romantisme
Many studies have shown that the links that exist between literature and music are closely interwined not only in the thoughts but also in the music of Robert Schumann (1810-1856). Expanding upon these works, we propose to study the influence of the Märchen on the musical enunciations of Robert Schumann's Märchenbilder (Images of tales) for viola and piano op. 113 (1851) and Märchenerzählungen (Tales telling) for clarinet, viola and piano op. 132 (1853). In what ways do these pieces display a specific type of musical organization influenced by the generic scheme of the Märchen ? The issues lying at the basis of this questioning are important. The ideal fusion of poetry and music, ultimate goal of romantic artists, leads to a complete renewal of musical formulation. Indeed, the instrumental Märchen embodies in an exemplary fashion the composer's contribution to these specifically romantic considerations, better known and oftener studied in Liszt or Wagner. The various aspects of the relation between the music and its literary model are examined through an in-depth analysis of opp. 113 and 132. A corpus of Märchen defined in accordance with the texts that Schumann knew provides the methodological foundation of this study. We consider in the music the influences of the Märchen envisioned as narration in a broad sense, but also as a specific poetic-structural unfolding, as storytelling issuing from oral tradition, or as an deployment of a poetic universe ideally expressing romantic aspirations
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