Дисертації з теми "Schumann, Robert (1810-1856 ; compositeur)"

La première partie de ce projet de recherche se concentre sur la réception des idées théoriques du libéralisme au sein de l’espace germanophone entre le XVIIIe et le XIXe siècle, et en particulier dans les territoires composant l’Allemagne d’aujourd’hui. Cela fournit le cadre historique et conceptuel pour le développement de la deuxième partie consacrée à l’analyse des mises en musique du Faust de Goethe proposées par Robert Schumann (1810-1856) et Franz Liszt (1811-1886), respectivement dans les Szenen aus Goethes Faust (1844-1853) et la Faust-Symphonie (1854), et en guise de conclusion une allusion à la Huitième Symphonie (1906-1907, 1910) de Gustav Mahler (1860-1911). En effet, la thèse ne prend pas en considération toutes les mises en musique du mythe faustien, mais rigoureusement seulement les œuvres musicaux inspirés par le Faust de Goethe et en particulier ceux qui reprennent la deuxième partie et la conclusion de la tragédie constituée par les vers énoncés par le chœur mystique. Dans le chef-d’œuvre goethéen, l’on a depuis György Lukács identifié une récapitulation de l’histoire économique de l’humanité, ou bien encore une synthèse de la pensée libérale du XVIIIe et XIXe siècle. C’est pourquoi, l’hypothèse de ce travail consiste dans la possibilité de repérer les images sonores de l’utopie politique exprimées par les mises en musique du chœur mystique qui achève l’œuvre goethéenne. La première partie a démontré le lien intime entre la notion de chœur mystique avec celle de corps mystique, qui a son tour est la racine théologique de la notion de corps politique. Pour cette raison, les mises en musique du chœur mystique doivent être interprétés comme des différentes tentatives de donner voix, c’est-à-dire, spatialiser à travers les timbres, les registres, les hauteurs et autres composantes musicales l’image de l’utopie politique qui structure l’idéologie du compositeur. Bien qu’à l’état encore expérimental, ce travail propose une méthode inspirée par le concept d’inconscient politique de Fredric Jameson pour organiser l’analyse des œuvres musicales. Cela implique d’une part la possibilité d’une application rigoureuse de la psychanalyse sur un objet musicaux en tant qu’expression de l’inconscient du compositeur ; et de l’autre de prendre sérieusement les écrits théoriques des compositeurs. Le concept d’inconscient politique présuppose de clarifier la relation entre l’individuel et le collectif : l’inconscient se manifeste toujours à travers un individu, mais les contenus exprimés relèvent parfois d’une dimension collective, voire politique, qui transparait à travers les éléments biographiques. En tant qu’expression de l’inconscient politique, l’œuvre musicale sera constituée – en reprenant les catégories de l’esthétique de Bernard Stiegler – par des composantes stéréotypiques et traumatypiques. Par ce biais, l’expression musicale d’un compositeur sera traversée par des éléments symptomatiques qui font émerger les traits de son inconscient politique. On a donc identifié grâce à cette méthode les trois structures de l’utopie politique aux racines de l’expression musicale des trois compositeurs : le Volk chez Schumann, la Nation chez Liszt et la Masse chez Mahler. Ces trois figures condensent à la fois des moments de l’évolution de la pensée libérale et la position idéologique du compositeur par rapport au développement du capitalisme
The first part of this research project is dedicated to the reception of Liberal theory within Germanophone space between the 18th and 19th centuries and in particular within those territories that compose Germany as we know it today. This provides the historical and conceptual framework for the development of the second part of the dissertation, which consists in the analysis of the musical transpositions of Goethe’s Faust by Robert Schumann (1810-1856) and Franz Liszt (1811-1886), respectively in Szenen aus Goethes Faust (1844-1853) and Faust-Symphonie (1854), and as a conclusion a hint to the Eigth Symphony (1906-1907, 1910) by Gustav Mahler (1860-1911) will be made.Indeed, the dissertation does not consider all the musical works inspires by the Faustian myth, but rather only the works inspired by Goethe’s Faust and in particular those which focus on the second part and the conclusion of the tragedy constituted by the verses sung by the mystical chorus. Goethe’s masterpiece has been – at least since György Lukács – long identified with a recapitulation of humanity’s economic history as well as with a synthesis of Liberal thought between the 18th and 19th centuries.Hence, the working hypothesis resides in the possibility to find the sonic images of political utopia expressed by such musical transpositions of the mystical chorus that concludes Goethe’s work. The first part has demonstrated the intimate relation between the notion of mystical chorus and that of mystical body, that at its turn is the theological background of the notion of political body. For this reason, the musical transpositions of the mystical chorus have to be interpreted as different attempts to give voice, that is, to spatialize – through the timbres, voice-registers, pitches and other musical components and parameters – the image of political utopia that structures the composer’s ideology.Although still at an experimental phase, this work proposes a hermeneutical method inspired by Fredric Jameson’s concept of political unconscious in order to organize the analysis of the musical works. This implies on one hand the possibility to rigorously apply psychoanalysis on a musical object as expression of the composer’s unconscious; and on the other hand, to seriously take into consideration the theoretical writings of the composers. The concept of political unconscious requires to clarify the relation between the individual and the collective: the unconscious manifests itself always through an individual, but the contents thus expressed sometimes pertain and hint to a collective dimension, i.e. political sense, that shows itself via biographical elements. As expression of the political unconscious, the musical work is thus constituted – recalling Bernard Stiegler’s aesthetic categories – by stereotypical and traumatypical components. In this way, the musical expression of a composer is thereby haunted by symptomatic elements which make the traits of the political unconscious emerge to consciousness. We have hence identified thanks to this method three structures of the political utopia at the root of the musical expression of the three composers: Volk in Schumann, Nation in Liszt and the Mass in Mahler. These three figures condensate at the same time moments of the evolution of Liberal thought and the ideological position of the composer in relation to the development of capitalism

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

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

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.

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

This study has attempted to observe and understand the reorchestrations of the four Robert Schumann symphonies through the analysis of revisions found in the edited scores of several eminent conductors. To provide a faithful and effective performance of Schumann's orchestral conception, the conductor may find it necessary to alter certain features in his scores. Conductors have complained that Schumann's symphonies are ineffectual in many passages. This is the reason they are less frequently performed than they deserve. Four performance editions of the complete Schumann symphonies were chosen to form the basis for this study. They are: Gustav Mahler, Arturo Toscanini, George Szell, Felix Weingartner. The revisions of other conductors were incorporated as available and appropriate. These include: Fritz Reiner, Bruno Walter, Wilhelm Furtwangler, Georg Solti, Joseph Keilberth, Gotthold Lessing, Willem Mengelberg, Eugene Ormandy, Hans Pfitzner, Theodore Thomas, Max Reger, Fritz Busch. The study of Schumann's orchestration involved the investigation of his development as an orchestral composer, including the influence of the piano on his scoring and his understanding of the orchestra. The state of the orchestra in Schumann's time and his development as an orchestral composer were also studied in order to better understand his technique in terms of his orchestral experience. The study of the revisions reveals that Schumann's scoring was less successful than many other composers in providing an orchestration which supports and clarifies the structural logic of the composition. It thus becomes the conductor's responsibility to assume the role of editor to provide a faithful performance of the work. Analysis of the reorchestrations reveals changes concerning dynamic balance, clarity, timbre and style, as well as manner of performance. This study has attempted to provide vital information about the performing editions and the aesthetic effect achieved through alteration of the original Schumann scores.

C'est en tant que concertiste que nous avons mene des recherches sur l'architecture secrete des oeuvres pour piano de robert schumann. En choisissant - et en nous limitant - aux oeuvres pianistiques de schumann construites sur le modele theme et variations, notre but a ete d'envisager ensuite, armee d'une methodologie adaptee a ce style tres original d'ecriture pianistique, la poursuite de notre travail sur l'ensemble du corpus. Dans le premier chapitre, nous avons envisage les differentes sources, tant musicales que litteraires, qui ont alimente son inspiration de musicien. Dans un deuxieme chapitre, nous avons mene des investigations sur les differentes composantes techniques qui constituent les dimensions particulieres de son style : l'harmonie - la partie la plus originale de son ecriture de compositeur - le traitement tres complexe du rythme et les specificites du traitement thematicolineaire lui permettant la construction des formes. Dans le troisieme chapitre, nous avons mene une analyse detaillee des grandes oeuvres pianistiques de schumann sur le modele theme et variations. Il s'agit des variations abegg, opus 1, des impromptus sur un theme de clara schumann, opus 5, des douze etudes symphoniques (ou etudes en forme de variations), opus 13 et le troisieme mouvement de la troisieme grande sonate, opus 14. Au cours de ce chapitre, nous avons ete amenee a comparer les differentes editions, etude dans certains cas particulierement delicate, comme par exemple celle touchant a l'opus 13, oeuvre qui a fait l'objet de plusieurs editions et reeditions non seulement du vivant du compositeur, mais aussi apres sa disparition. Enfin, dans le 4e et dernier chapitre, nous avons mene une reflexion sur certains elements techniques participant de l'interpretation ; et nous avons compare entre elles plusieurs executions des oeuvres de schumann par de grands pianistes internationaux, en faisant part de nos propres commentaires de concertiste a propos de ces interpretations.

Des typologies thématique, systématique et historique de la variation de 1765 à 1880 constituent des fondements théoriques, préliminaires à l'étude de la forme variation schumannienne. L'évolution de cette dernière connait quatre phases successives. Si la première (1828-1832) est inscrite dans le sillage de la variation virtuose, la "fantaisie variation" de la deuxième (1832-1835) est le témoin de la nouvelle orientation du compositeur, caractérisée par l'unité organique, la diversité de caractère, l'émancipation de la forme thématique et la conception énigmatique. Quant à la troisième période (1835-1853), proche de la deuxième, elle offre des variations moins contrastées. En ce qui concerne la quatrième phase (1853-1854), elle est placée sous le signe de la proximité thématique. Il apparait que Schumann a su se distancer de la virtuosité à la mode, contrairement à Chopin et au jeune Liszt, sans demeurer pour autant dans la lignée beethovenienne du Mendelssohn des variations sérieuses et du Brahms des variations et fugue sur un thème de Händel
Thematic, systematic and historic typologies of the variation from 1765 to 1880 establish a theoretical background to the study of schumannian variation form. Four periods can be defined in its evolution : the first (1828-1832) lies in the wake of the virtuosic variation ; the "Fantasie variation" of the second period (1832-1835) shows Schumann’s tendency towards organic unity, character diversity, emancipation of thematic form, and towards enigmatic conception ; the third period (1835-1853), closely related to the second, presents less contrasted variations ; the fourth (1853-1854) is characterized by thematic proximity. It appears that Schumann, contrary to Chopin and to early Liszt has distanced himself from modern virtuosity, without staying in the beethovian continuity of Mendelssohn’s variations serieuses and of Brahms' variations and fugue on a theme by Handel

Ce travail est une réflexion sur les notions de pulsions de vie et de mort. La seconde supposée observée à l'état pur dans la mélancolie nous a invités à étudier les productions du romantisme allemand qui a vu ses acteurs mourir par suicide, et les rapports de ses représentations démoniaques à la pulsion. Il apparaît que la diable, père de l'Oedipe qui rappelle aux romantiques, et aux adolescents ayant une problématique semblable, les termes du pacte oedipien, oeuvre pour et contre les revendications de toute-puissance et de jouissance, au risque de la mort, du morcellement, de la compulsion, propres de la pulsion de mort, faisant de celle-ci un destin de la seule sexuelle
This work is a thought about the notions of life urge and death urge. The second one, assumed to be observed in the pure state in melancholy led us to study the productions of the German romanticism which saw its actors die from suicide, and the relations of its demoniac representations to urge. It turns out that the devil, father of the Oedipus who reminds the romanticist and the teenagers having a similar problematic, the terms of Oedipus pact, works for and against the claims of almightiness and delight, at the risk of death, making it a fate to the sexual one only

Many have criticized Schumann's compositional style as being incompatible with sonata form. For example, his Fantasia, Op. 17 appears to be a series of cleverly interactive themes which, by virtue of their poetic diversity and dramatic momentum, manage barely to function within the confines of a quasi-sonata form. Schumann's discomfort, some would say, is made evident by the absence of developmental sections in the outer two movements, by the invasion of literary and musical quotation, and even by the rhetorical presentations of his too lyrical themes. Such appraisals focus on that which is absent or unusual, ignoring the inherent craftsmanship and masterful motivic manipulation exhibited throughout the Fantasia. Schumann does not explore and reveal the latent energy in a collection of motives; rather, he varies, transforms, mutates and metamorphizes a few cellular ideas into a collage of richly diversified themes, all of which bear the stamp of these "genetic" cells. Much of the musical momentum in the Fantasia derives its energy from the surface interplay of those themes; thus the engine of the form is more closely akin to variation and cyclic techniques than to those involving thematic development. The essential purpose of this paper is to explore thematic processes in Schumann's Fantasia, these being fundamental to the language of the work. The paper also encompasses a history of the fantasia genre, an overview of Schumann's aesthetics, and a brief discussion of the Fantasia's structure.
Arts, Faculty of
Music, School of
Graduate

Robert Schumann's dramatic music remains, for the most part, undiscovered and therefore performed infrequently. Genoveva, Das Paradies und die Peri, Manfred, and Scenen aus Goethes Faust are comprised of some of Schumann's most beautiful music from his last stylistic period. Schumann envisioned a national German opera that had a complete union of text and music and a plot based upon the supernatural and mythical German legends. His lofty aspiration was to raise the dramatic music of his time to the high standards of the literary culture. Composing dramatic music for Goethe's Faust was a challenging endeavor for Schumann. Scenen aus Goethes Faust was a project that he struggled with from 1844-1853 because of both the text and the grand scale of the piece. One purpose of an analysis of the structure and content of Schumann's Scenen aus Goethes Faust and Goethe's poetry is to facilitate the solo vocal performer's interpretation. Utilizing selected scenes from Scenen aus Goethes Faust; "Scene im Garten" from Part I, "Sonnenaufgang," and "Mitternacht" from Part II and "Hier ist die Aussicht frei" from Part III, this research paper will define important recurring musical motives, assess Schumann's usage of contrasting vocal genres and their relationship to the unfolding drama, explore important vocal performance issues for the baritone and soprano soloists and investigate the manner in which Schumann uses the orchestra to depict and communicate the meaning of Goethe's text. Schumann's method of setting Goethe's text will also be examined, as the ability to comprehend the poetic text was of primary importance.

An analysis of re-orchestrations of Robert Schumann's four symphonies employed by conductor Felix Weingartner (1863-1942). The text includes a brief history of Schumann's orchestral writing career and an overview of Weingartner's life as a conductor. The bulk of the dissertation discusses actual changes suggested by Weingartner (with score examples). Patterns of modifications are identified and discussed as they relate to historically entrenched problems perceived with Schumann's originally employed practices of orchestration. The analysis focuses on overall patterns of alteration imposed by Weingartner and their perceived effectiveness in achieving a noticeably improved aural outcome.

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The author tries to approach the relation between Robert Schumann‟s life, his musical works and his psychosis. An extensive phenomenological analysis has been developed involving the letters from his youth to maturity, his personal diary and wedding diary and his musical scores. In methodological terms, the author relates the phenomenology of music and an existential phenomenological analysis. Concerning the phenomenology of music, the text is focused on the tradition of phenomenological aesthetics which includes authors as Merleau-Ponty, Mikel Dufrenne and Thomas Clifton. Concerning the existential phenomenological approach, the author tries to build a dialogue with early twentieth century phenomenological psychiatric tradition involving Karl Jaspers, Eugene Minkowski and Ludwig Binswanger. Musical analysis starts from objective analysis and culminates in the development of a phenomenological approach with special emphasis to corporality, materiality, time, space and pathos. The author concludes that Schumann‟s music expresses the hidden forces that were always present in his tormented life
O autor tenta abordar a relação entre a vida de Robert Schumann, suas obras musicais e sua psicose. Uma extensa análise fenomenológica foi realizada envolvendo as correspondências (cartas) desde sua juventude até a maturidade, seu diário pessoal e de casamento e suas partituras. Em termos metodológicos, o autor relaciona a fenomenologia da música com uma análise fenomenológico existencial. No que diz respeito à fenomenologia da música, o texto está focado na tradição da estética fenomenológica que inclui autores como Merleau-Ponty, Mikel Dufrenne e Thomas Clifton. No que diz respeito à abordagem existencial fenomenológica, o autor tenta construir um diálogo com a tradição da fenomenologia psiquiátrica do início do século XX envolvendo Karl Jaspers, Eugene Minkowski e Ludwig Binswanger. A análise musical começa a partir da análise objetiva e culmina com o desenvolvimento de uma abordagem fenomenológica, com ênfase especial à corporalidade, materialidade, tempo, espaço e pathos. O autor conclui que a música de Schumann expressa as forças escondidas que estavam sempre presentes em sua vida atormentada

Although Robert Schumann’s late style has been the subject of several probing studies in recent years, few scholars have concentrated their attention on the chamber works composed in the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the same rhetorical and structural elements. Throughout both movements, however, Schumann uses an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to recast the internal workings of these outwardly conventional sonata forms. As he uses these techniques to undermine important structural moments of each movement, Schumann significantly changes the overall plot of the eighteenth-century sonata form, while also demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works.
School of Music

Le discours sur la musique appartient-il à tout le monde ? Figure d’un art aux exigences classiques et aux ruptures modernes, la polyrythmie évoque les pratiques élitistes comme le partage populaire, et se mêle parfois des bruits de la foule et des larmes des anonymes. Intime et en relation, la musique suit des métamorphoses (coups, vitesses, rythmes…), devient rengaine ou ritournelle, grave ou légère. Hybride et tremblante, la poétique du langage vocal, instrumental ou sonore est traversée par le hasard, les rêves, le divers. Faite de rencontres aléatoires ou de mots incertains, que nous apprend la musique ? Pour certains musiciens-amateurs (Gide, Barthes, Sollers), pour ceux qui se définissent comme non-musiciens (Freud, Deleuze, Rancière), ou préoccupés par d’autres arts (la psychiatrie pour Guattari, la poésie chez Glissant, la peinture d’Adami), la musique parle d’autre chose qu’elle-même. Elle nous dit ce qu’il en est des couleurs, des affects, des sensations du monde. Oui, par son intensité et sa fragilité, sa puissance et sa liberté, la musique nous parle de nous
Does talk about music belong to everybody? Form of an art that has its classical requirements and its modern breaches, polyrhythmic sound calls to mind elitist practices as well as popular share, and sometimes mingles with the sounds of the crowd and the tears of anonymous people. Intimate and in relation, music follows metamorphoses (blows, speeds, rhythms…), becomes a refrain or a ritornelle, serious or light. Hybrid and flickering, poetics of vocal language, instrumental or sonorous, is crossed by chance, dreams and changes. Made up of random meetings or uncertain words, what does music teach us? For some amateur musicians (Gide, Barthes, Sollers), for those whose define themselves as non-musicians (Freud, Deleuze, Rancière) or who are st on other arts (psychiatry for Guattari, poetry with Glissant, Adami’s painting), music speaks about something further than itself. It tells us about the colours, the affects, the feelings of the world. Indeed, through its intensity and its fragility, its power and its liberty, music speaks about us

Mestrado em Música
This thesis aims to research the role of music as an emotion expressed in motion. Based on the study of two pieces: Robert Schumann’s A minor Piano Concerto Op.54 and Clara Schumann’s Variations on a theme by Robert Schumann Op. 20, I explore the emotion of love between Robert and Clara Schumann throughout their lives, verifying the emotion of love as related to their musical creativity. Another important aim of this thesis involves my interpretation and playing experience of these two compositions. I obtain my understanding of the musical moods and meaning enriching my imagination, which translates through the aural senses to the kinetic body movements, culminating in the real musical sound and its emotional expression.
Esta tese tem como objetivo pesquisar o papel da música como emoções expressas em movimento. Baseado nos dois objetos de estudo: Concerto de Piano em Lá menor Op. 54 de Robert Schumann e Variações sobre a Tema de Robert Schumann Op. 20 de Clara Schumann, exploro a emoção de amor entre Robert e Clara Schumann em suas vidas. Verifico que esta emoção de amor está sempre relacionada com as criatividades musicais dos dois. Outro objetivo importante envolve a minha interpretação e a experiência de tocar nessas duas composições. Tento alcançar o meu entendimento sobre os espíritos e significados musicais das obras para enriquecer a minha imaginação. Esta última vem através da sensação auditiva para os movimentos cinéticos do corpo e, finalmente alcança a uma verdade sonoridade musical e a sua expressão emocional.

The objective of this dissertation is to review the discrepancies between Concert Sans Orchestre and Grande Sonate edited by Ernst Herttrich, Grosse Sonate No.3 Op.14 Erste and Zweite Ausgabe edited by Clara Schumann of Robert Schumann's No.3 Op.14, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as notes, rhythms, metronome marking and expression signs is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Suggested solutions are followed by each example.

Au regard de l’évolution de l’histoire de la musique, nous pouvons repérer que l’art se situe dans un contexte socio-culturel et l’artiste dans un lien social particulier. D’une musique sacrée à la musique profane, écrire et jouer de la musique devient une manière de divertir à l’expression de sentiments à la période dite romantique. Aujourd’hui, des chercheurs proposent la possibilité de restaurer le cerveau par la musique. Après la présentation de la neuromusicothérapie, de la musicothérapie et de leurs limites, notre travail consistera à articuler par une lecture psychanalytique lacanienne cette forme d’expression et de création à l’existence d’un sujet. Le symptôme et le réel comme boussole, nous nous intéresserons à la fonction de la création musicale pour Robert Schumann. Notre hypothèse permettra de contribuer à la clinique mélancolie. En dégageant quelques spécificités de l’œuvre schumanienne notamment le lied, nous verrons comment la composition a fait suppléance et a reporté l’acte suicidaire
N view of the evolution of the history of music, we can see that the art lies in a socio-cultural context and the artist in a particular social bond. From sacred music to secular music, writing and playing music become a way of entertaining and expressing feelings in the so-called romantic period. Today, researchers are proposing the possibility of restoring the brain through music. After presenting neuromusicotherapy, music therapy and their limits, our work will consist in articulating, through a Lacanian psychoanalytic reading, this form of expression and creation with the existence of a subject. With the symptom and the real as a compass, we will focus on the function of musical creation for Robert Schumann. Our hypothesis will contribute to the melancholy clinic. By highlighting some specificities of Schumann’s work, particularly the lied, we will see how composition substituted and suspended the suicide act

La première moitié du XIXe siècle germanique voit le sacré se déplacer de façon massive et multiple vers la sphère profane. Le vocabulaire, les schémas et les idéaux religieux se refondent dans le prisme historique pour pénétrer philosophie, littérature, arts visuels et musique. Dans un climat esthétique, politique et social tendu vers la Bildung, l’édification morale mais aussi religieuse de la société, la représentation communautaire devient l’objet privilégié de l’art. En témoignent le ressourcement architectural gothique, les tableaux d’activisme nazaréen, ainsi que des modalités de représentation grandioses dans l’opéra et l’oratorio. L’insertion plus insolite du religieux dans la symphonie trouve ici un champ de contextualisation qui permet d’élucider les mutations contradictoires du genre en plein essor. Engagée depuis le classicisme dans une vocation spirituelle récusant l’intelligible, la symphonie ne s’en trouve pas moins investie de représentations religieuses se focalisant sur l’image communautaire. Dans l’attraction de l’œuvre beethovénien, Mendelssohn et Schumann, parallèlement à Spohr, font dans leurs symphonies une place décisive aux topoï connotant ou dénotant le religieux, à commencer par les cantiques et les styles anciens. Leurs corpus symphoniques respectifs apparaissent singulièrement homogènes, non moins qu’en correspondance. Par l’amplification des représentations spirituelles via la technique cyclique, ils s’appréhendent dès lors dans une vocation religieuse d’accomplissement, en probable résonance avec les conceptions historicistes d’immanence ou de transcendance
The first half of the Germanic Nineteenth Century saw the shift of the religious expression in a massive and multiple way towards the profane sphere. Vocabulary, patterns and religious ideals are recast in the historical prism to enter philosophy, literature, visual arts and music. In a tense aesthetic, political and social climate to « Bildung », the moral and religious edification of society, the community representation becomes the privileged aim of art. Evidence of this is found in the Gothic architectural renewal, the activism of Nazarene paintings and grandiose representation arrangements in historical-religious opera and oratorio. The more unusual religious penetration into the symphony finds a significant field of contextualization that allows to elucidate the contradictory mutations of the booming genre. Committed since classicism to a spiritual vocation rejecting the intelligible, it is nonetheless true that the symphony is invested with religious representations focusing on community image. In the attraction of the work of Beethoven, symphonies by Mendelssohn and Schumann, along with those of Spohr, give emphasis to topoï connoting or indicating the religious, starting with hymns and old styles. Their respective symphonic corpus appear remarkably homogeneous, no less than in retrospect correspondence. By amplifying the spiritual representations via the cyclic technique, they are subsequently grasped in a religious vocation of accomplishment, likely in resonance with the historicist conceptions of immanence and transcendence

碩士
東吳大學
音樂學系
99
Robert Schumann (1810-1856) was a master in music and literature gave audiences lots of imagination. He offered new direction for character piece during 19th century. He completed Fantasiestücke, Op.12, for both market and work for himself, in 1837. This composition is excellent at piano cycle and musical expression, which uses the poetic concept for literature in music. It began with the idea of metaphor instead of narration or drama but the spirit of poetic literature. There are graceful subjects at Fantasiestücke. There are also binary characters at Florestan and Eusebius. It’s particularly very touching at “Romantic irony”. Fantasiestücke shows emotion and the form of pure art, a stereotype for poetic music.

This doctoral submission consists of 4 CD recordings of my performances of Schumann’s piano works (from Opus 72 to the last piece he composed) supported by an exegesis. The works performed and discussed are: Vier Fugen Op. 72 (1845), Vier Märsche Op. 76 (1849), Waldszenen Op. 82 (1848/9), Bunte Blätter Op. 99 (1836-49), Albumblätter Op. 124 (1832-45), Drei Fantasiestücke Op. 111 (1851), Drei Klavier-Sonaten für die Jugend Op. 118 (1853), Sieben Stücke in Fughettenform Op. 126 (1853), Gesänge der Frühe Op. 133 (1853), and the Geistervariationen WoO 24 (1854). Recent scholarship suggests that Schumann’s late piano works have been unreasonably neglected. This neglect has been justified by reference to his mental condition, which has often been assumed to have deteriorated as he got older, allegedly affecting the quality of his composition. Empirical evidence from the 1980s onwards supports a burgeoning school of thought that casts misgivings on the once commonly held belief that Schumann’s late works are inferior in quality. These recordings provide a fresh interpretation of the material and are intended to contribute towards a 21st century Schumannian renaissance as we approach the 200th anniversary of his birth in 2010. The exegesis discusses the process of researching, learning, performing and recording these works. Interpretative decisions are described and validated through an examination of the implications of the score, and specific pianistic issues arising through the maturation of Schumann’s late style are also discussed. The works have been examined on the basis that historical prejudice may have prevented a fair assessment of the quality of the composer’s music of this period.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2010

Trabalho de projecto de mestrado, Tradução, Universidade de Lisboa, Faculdade de Letras, 2014
Resumo do projeto O que implica a tradução de textos nos quais convivem diferentes funções linguísticas? Que aspetos se deve ter em conta para não se perder de vista a miragem da fidelidade ao original? Qual o interesse da tradução de textos de crítica musical do século XIX? Haverá textos simultaneamente técnicos e literários? A tradução de textos temporalmente distantes limita-se às questões linguísticas? Qual a abordagem tradutória mais adequada? Estas são algumas das questões discutidas no presente trabalho que teve por base a tradução de uma seleção de textos de crítica musical da autoria de Robert Schumann, o famoso compositor alemão do século XIX. Estes textos, que visam compositores ainda hoje reconhecidos entre nós, foram escritos igualmente com uma intenção literária o que também lhes confere valor a esse nível. O objetivo do presente trabalho foi precisamente ensaiar uma tradução que pudesse recriar no texto alvo a diversidade de funções do texto fonte. Além disso, e por se tratar de textos do século XIX, discutem-se os aspetos a que o tradutor deve dar atenção para facilitar a leitura dos textos por parte do leitor português do século XXI. O resultado é uma tradução que ensaia o trabalho de crítica textual.
Abstract: What is involved in the translation of texts with different linguistic functions? What aspects should be taken care of so to keep visible the mirage of fidelity? What is the interest of translating texts of musical criticism from the nineteenth century? Are there texts both technical and literary? Does the translation of texts distant in time involve other issues than the mere linguistic ones? What would be the approach that best meets the requirements of such a translation? These were some of the topics discussed in this translation project which was based on a selection of texts of musical criticism written by Robert Schumann, the famous nineteenth century composer. These texts, aimed at composers still renowned among us, were written with an apparent literary intention and are recognized and treasured as such. The main goal of this project was precisely to attempt a translation which could recreate in the target texts all the functions identified in the source texts. In addition to this, considering that these texts date back to the nineteenth century, we also discuss the aspects that required the translator’s attention so to bring about a translation that could be seamlessly read by the twenty first century reader. The result is a translation that is closer to textual criticism.

碩士
東吳大學
音樂學系
98
Abstract Viola da gamba is the earliest one of the Plucked-String Instruments. Although Viola was dispensable before the 20 century, its performance technique has been elevated recently. Viola makes a strong impression on people that it doesn’t play an accompaniment role any more. Therefore, the compositions for viola which created by the composers have been increasing largely. This Märchenbilder: Vier Stücke für Klavier und Viola, Op. 113 by Robert Schumann (1810-1856) is one of the vital work of Romanticism. It is filled with the composer’s romantic emotion, and it’s melody is beautiful. This thesis is divided into four chapters to introduce this work. First of all, I will introduce Schumann’ life events, style, background of her creation . Second, I will analyze and explain the four pieces, from the chord structure , material, and harmony structure to analyze and take musical contexts for practical examples. Third, I will conclude what performance Technique is necessary, and interpret from my objective viewpoints. Finally, I hope that via this thesis, people who enjoy viola music and the it’s players will understand and appreciate the music characteristics of Schumann more. Viola Music Recital 1.Johann Sebastian Bach (1685-1750) Viola da Gamba Sonata No.2 in D 2.Johann Nepomuk Hummel(1778-1837) FANTAISIE pour ALTO et ORCHESTRE à CORDES 3.Jean Baptiste Charles Dancla(1817-1907) Carnival of Venice 4.Rebecca Helferich Clarke(1886-1979) Sonata For Viola and Piano

“A Shine of Truth in the ‘universal delusional context of reification’ (Theodor W. Adorno)” comprend sept chapitres, un prologue et un épilogue. Chaque partie se construit à deux niveaux : (1) à partir des liens qui se tissent entre les phrases contiguës ; et (2) à partir des liens qui se tissent entre les phrases non contiguës. Les incipit des paragraphes forment l’argument principal de la thèse. Le sujet de la thèse, Schein (apparence, illusion, clarté) est abordé de manière non formaliste, c’est à dire, de manière que la forme donne d’elle-même une idée de la chose : illusion comme contradiction imposée. Bien que le sujet de la thèse soit l’illusion, son but est la vérité. Le Chapitre I présente une dialectique de perspectives (celles de Marx, de Lukács, de Hegel, de Horkheimer et d'Adorno) pour arriver à un critère de vérité, compte tenu du contexte d’aveuglement universel de la réification ; c’est la détermination de la dissolution de l’apparence. Le Chapitre II présente le concept d’apparence esthétique—une apparence réversible qui s’oppose à l’apparence sociale générée par l’industrie de la culture. Le Chapitre III cherche à savoir si la vérité en philosophie et la vérité en art sont deux genres distincts de vérités. Le Chapitre IV détermine si l’appel à la vérité comme immédiateté de l’expression, fait par le mouvement expressionniste du 20e siècle, est nouveau, jugé à l’aune d’un important antécédent à l’expressionisme musical : « Der Dichter spricht » de Robert Schumann. Le Chapitre V se penche sur la question à savoir si le montage inorganique est plus avancé que l’expressionisme. Le Chapitre VI reprend là où Peter Bürger clôt son essai Theorie de l’avant-garde : ce chapitre cherche à savoir à quel point l’oeuvre d’art après le Dada et le Surréalisme correspond au modèle hégélien de la « prose ». Le Chapitre VII soutient que Dichterliebe, op. 48, (1840), est une oeuvre d’art vraie. Trois conclusions résultent de cette analyse musicale détaillée : (1) en exploitant, dans certains passages, une ambigüité dans les règles de l’harmonie qui fait en sorte tous les douze tons sont admis dans l’harmonie, l’Opus 48 anticipe sur Schoenberg—tout en restant une musique tonale ; (2) l’Opus 48, no 1 cache une tonalité secrète : à l'oeil, sa tonalité est soit la majeur, soit fa-dièse mineur, mais une nouvelle analyse dans la napolitaine de do-dièse majeur est proposée ici ; (3) une modulation passagère à la napolitaine dans l’Opus 48, no 12 contient l’autre « moitié » de la cadence interrompue à la fin de l’Opus 48, no 1. Considérés à la lumière de la société fausse, l’Allemagne des années 1930, ces trois aspects anti-organiques témoignent d’une conscience avancée. La seule praxis de vie qu’apporte l’art, selon Adorno, est la remémoration. Mais l’effet social ultime de garder la souffrance vécue en souvenir est non négligeable : l’émancipation universelle.
“A Shine of Truth in the ‘universal delusional context of reification’ (Theodor W. Adorno)” defends Adorno’s aesthetics as a theory of advanced, or avant-garde, artworks. Its seven chapters show that aesthetic experience implies liberation from illusion (Schein). Chapter I engages a dialectic of viewpoints to explain how different dialectical thinkers (Marx, Lukács, Hegel, Horkheimer, Adorno) have contributed to a criterion of truth adequate to today’s total delusional context of reification—determinate negation of illusion. Chapter II introduces the concept of artistic aesthetic illusion—a reversible illusion opposed to the social illusions of mechanical musical reproduction and of the culture industry. Chapter III examines the question of whether truth in philosophy is a different kind of truth than truth in art. Chapter IV considers whether truth in twentieth-century Expressionism is a new truth based on immediate expression, in light of an important precedent for Expressionism in Robert Schumann’s “Der Dichter spricht.” Chapter V determines whether inorganic montage is more advanced than Expressionism. Chapter VI takes up a parting suggestion of Peter Bürger: to treat artworks after Dada and Surrealism on the model of “prose” in Hegel’s aesthetics. Chapter VII pursues the idea that Dichterliebe, op. 48, (1840) by Robert Schumann is a true artwork. Three results emerge from this close musical analysis: (1) exploiting, on occasion, an ambiguity in the rules for figuration that permits all twelve tones in the harmony, Schumann anticipates Schoenberg; (2) Op. 48, No. 1 is in a hidden key: to all appearances, its key is either A major or F-sharp minor, but its secret key is the Neapolitan region applied to C-sharp major; (3) the other “half” of the cadence with which Op. 48, No. 1 breaks off suddenly may be found in a brief applied-Neapolitan passage in No. 12. The thesis argued is that the antiorganicity in such a work is advanced with regard to the false reality of 1930s Germany and the place of organicity therein. According to Adorno, the only life-praxis afforded by art is remembrance. But the social effect of remembering social suffering is considerable when the Here-and-Now is its own justification.