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1
Ardura, Bernard. "Robert Schumann — “Father of Europe”." ISTORIYA 12, no. 11 (109) (2021): 0. http://dx.doi.org/10.18254/s207987840017651-5.
Повний текст джерелаАнотація:
The article examines the main milestones in the biography of Robert Schumann, a prominent politician in post-war France, a member of several cabinets and an active supporter of Western European integration, who proclaimed a plan to unite the production of coal and steel (“The Schuman Declaration”, known as “Schumann Plan” in Russian historiography). His efforts to achieve historic reconciliation between France and Germany after the deep trauma inflicted by the two World Wars are underlined. Particular attention is paid to Schumann's Christian worldview and his ideas about Christian values that serve the common good and the cause of uniting Europe.
2
Polska, I. І. "«Exegi monumentum»: the reflection of Schumann’s images in the Variations by J. Brahms on the theme by R. Schumann op. 23." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 249–61. http://dx.doi.org/10.34064/khnum2-17.16.
Повний текст джерелаАнотація:
Background. The problematics associated with the personal and creative relationships between Johannes Brahms and Robert Schumann, as well as the nature of their reflection in art, have been worrying the minds of researchers for more than a century and a half. One of significant, but little-studied aspects is the embodiment of Schumann’s images and associations in the four-handed piano works by J. Brahms. The article objective is revealing of the semantic specifics of the reflection of Robert Schumann creativity in the Variations by Johannes Brahms on the Theme by R. Schumann, op. 23. The study methodology determined by its objectives is integrative and based on the combination of general scientific approaches and musicological methods. The leading methods of research are the semantic, compositional-dramaturgic and genre-stylistic analyses. Results. Acquaintance with Robert and Clara Schumann (soon transformed into a romantic friendship) was a landmark, turning point in the life and work of J. Brahms. It was R. Schumann, who at some time first called young Chopin a “genius” and who also predicted to Brahms – at that time (in 1853) to almost no-known young musician – a great future in his latest article “New Ways” (after long literary silence), where the appearance of new genius solemnly proclaimed. The long hours of companionship of Brahms with Robert and Clara Schumann were filled of conjoint piano playing, very often – in four hands. Addiction to the four-handed duet playing was vividly reflected in the creativity of both, Schumann and Brahms. Creativity of J. Brahms is one of the highest peaks in the history of the genre of a four-handed piano duet. A special place among Brahms’ piano four-handed duets is occupied by the only major cyclical composition – the Variations on the Theme of R. Schumann op. 23 in E Flat Major, 1861. Variations op. 23 were written by the composer for the joint four-handed performance by Clara and Julia Schumann – the wife and the daughter of R. Schumann. The author dedicated his composition to Julie Schumann, with whom he was secretly in love at that time. The theme of variations is the melody, which was the last in the creative fate of R. Schumann. This theme was presented to Schumann in his night visions by the spirits of Schubert and Mendelssohn; the composer managed only to write down the theme and begin to develop it on February 27, 1854, on the eve of the tragic attack of madness, which led him to the hospital in Endenich. Brahms’s ethical and aesthetic task was to preserve for humanity the last musical thought of the genius and perpetuate his memory, creating an artistic monument to his great friend and mentor. Brahms’ idea is connected with the composer’s philosophical thoughts about death and immortality, about the meaning of being and the greatness of the creative spirit. This idea is even more highlighted due to the genre synthesis of the “strict tune” of the choral and the mourning march “in memory of a hero”. The level of associativity of each of these genre spheres is extremely high. It includes a huge range of musical and artistic phenomena The significant associative semantic layer of music of Variations is connected, of course, with Robert Schumann’s creativity. Brahms most deeply penetrates into the world of musical thinking of Schumann, turning to the favorite Schumann’s principle of free variation. The embodiment of this idea becomes both the tonal plan of the cycle, and the peculiarities of the genre characteristic of individual variations, and the psychological accuracy of specific figurative decisions, and the logical unity of the artistic whole with emphasizing of semantic significance of private details. In Schumann style, Brahms wrote the first four variations of op. 23. (Strictly speaking, the very idea of a “musical portrait” of a friend and like-minded person comes from the Schumann’s “Carnival” and “Kreisleriana”). Tonalities in the Variations get the semantic importance: E flat major as friendly and bright and E flat minor as intensely passionate. The tonal sphere “E flat major – E flat minor” for Brahms is the symbol of unity of the sublime and earthly, bright and gloomy, tragically passionate and calmly contemplative, it is a kind of image of the Universe, the Macrocosm that created by the individual musical thinking of the composer. The features of philosophical programmaticity of generalized type inherent in the Brahms conception predetermined the peculiarities of the figurative dramaturgy of Op. 23, reflecting the development and interaction of the main emotional-semantic lines of the cycle – lyrical, sublime tragic, fantastic, heroic and triumphal. The circle of the figurative development of the cycle is closed by the Schumann’s theme, creating an intonational-thematic and semantic arch framing the entire composition. The main theme of the Variations acquires here – as a result of a long and tragic dramatic way – features of a lyrical epitaph, a farewell word: “Exegi monumentum” – «I erected the monument»… Conclusions. In general, the music of Variations by J. Brahms on the Theme by R. Schumann is striking in its moral and philosophical depth, the power of artistic and ethical influence, emotional and figurative abundance and significance, compositional completeness and clarity of the dramatic solution. Variations on the theme by R. Schumann are a unique musical monument to the genius of Robert Schumann, created by the genius Johannes Brahms in honor and eternal memory to his great friend and teacher in the name of Music, Friendship and Love.
3
Kim, Ji-Young. "A Melody and Its Afterlives in Piano Music by the Schumanns and Brahms." 19th-Century Music 46, no. 3 (2023): 217–43. http://dx.doi.org/10.1525/ncm.2023.46.3.217.
Повний текст джерелаАнотація:
In the 1830s, Robert Schumann wrote Impromptus on a Romance by Clara Wieck (op. 5), a set of variations on the theme from Wieck’s Romance variée (op. 3). In the 1850s, Clara Schumann wrote variations (op. 20) on an “Albumblatt” from Robert Schumann’s Bunte Blätter (op. 99), which stimulated Brahms to write his own variations (op. 9) on the same theme. Clara and Brahms linked the two temporal nodes together by quoting the melody shared by Clara and Robert’s youthful ops. 3 and 5 in their later ops. 20 and 9. These borrowings have stimulated interpretations that revolve around representations of people through such means as ciphers, quotations, allusions, and motives. Yet documentary and circumstantial evidence—diary entries and correspondence, private forms of music making (sight-reading and practicing in solo and chamber settings), material culture in the form of giving and receiving flowers, and a little-discussed yet remarkable piano arrangement of Robert’s Piano Quintet, op. 44, by Brahms—suggest that Brahms’s op. 9 quotation of the Schumanns’ melody was meant to recall a shared experience during a poignant moment in the year 1854. Not only to be read and recognized on paper, musical borrowings can gain expressive value as performative acts creating an open-ended field of meaning.
4
Wermager, Sonja. "“Worthy of a Monument in Artistic History”: Religion and Nation in the Plans for Robert Schumann’s Unrealized Martin Luther Oratorio." 19th-Century Music 46, no. 1 (2022): 39–59. http://dx.doi.org/10.1525/ncm.2022.46.1.39.
Повний текст джерелаАнотація:
In January 1851, Robert Schumann wrote to Richard Pohl with an idea: “I would like to write an oratorio. Perhaps you would lend your hand? I thought of Luther.” Pohl enthusiastically agreed to write the libretto and the two began discussing their ideas for a musical work depicting the life of the sixteenth-century Protestant reformer Martin Luther in an extended correspondence. Ultimately, despite two years of intermittent planning and deep investment on the part of Schumann, the project fell through. That there is no libretto or musical sketches for the proposed oratorio has meant the project, apart from brief mentions, has gone largely unexamined in scholarship about Schumann. Nevertheless, the letters between Schumann and Pohl give valuable insight into what drew both composer and librettist to this subject—and into the questions of identity, confession, and politics that captivated them and their contemporaries. In this article I argue that the Luther oratorio plans offer a prime example of what Alexander Rehding calls “historical monumentality,” characterized by the harnessing of historical figures into symbols of collective political, religious, and social identity. Drawing on perspectives from religious studies to visual culture, I argue that Schumann and Pohl sought to create a musical monument of Martin Luther as a symbol of politically liberal and confessionally Protestant Deutschtum. More broadly, I aim to demonstrate that Schumann’s interest in Martin Luther exemplified the complex interweaving of historicism, confessional legacy, political revolution, and emergent nationalism that guided Schumann’s compositional efforts during his tenure as municipal music director in Düsseldorf (1850–54), with particular emphasis on his active engagement with questions of religion and confession in German society in the years following the 1848 revolutions.
5
Ferris, David. "Public Performance and Private Understanding: Clara Wieck's Concerts in Berlin." Journal of the American Musicological Society 56, no. 2 (2003): 351–408. http://dx.doi.org/10.1525/jams.2003.56.2.351.
Повний текст джерелаАнотація:
Abstract The critics of the Neue Zeitschrift für Musik idealized the private performance as an enlightened alternative to the public concert, and it was in private settings that Clara Wieck Schumann typically played Robert Schumann's music in the early years of her career. In the winter of 1839-40 she was in Berlin, abandoned by her father, Friedrich Wieck, and struggling to continue her career on her own. At Schumann's suggestion she performed his Sonata No. 2 in G Minor, Op. 22 in a public soirée. Afterwards Schumann decided his music was too personal for a public audience, and his major piano works were not heard again until the year of his death.
6
Cherniavska, M. S. "Clara Wieck Schumann in the European scientific discourse." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 213–31. http://dx.doi.org/10.34064/khnum2-17.14.
Повний текст джерелаАнотація:
Background. The article is devoted to studying of versatile aspects of life and work of the outstanding German pianist and composer Clara Josephine Wieck Schumann (1819–1896) on little-known in domestic musicology materials of the European scientific literature. The review of scientific sources also includes the rare works given personally to the author by the relative of Clara Schumann, Frau Hannelore Österschritt, which is the great-granddaughter of her step-brother on the mother’s side, W. Bargiel. The above large array of systematized chronological and literary sources gives an idea of the scale and aspects of studying such a scientific problem as the analysis of Clara Schumann’s creative heritage to date. It turns out that her phenomenon as a supernova on the German sky made Europeans see a woman in a different way – as a creator, a bright personality, a public figure, a successful performer. The purpose of the article is the description and systematization of European science sources, covering the figure of Clara Wieck Schumann. Research methodology are based on general scientific approaches necessary for the disclosure of the topic, including logical, historical, chronological, source-study methods needed to synthesize and systematize of scientific sources. Results. The figure of Сlara Wieck Schumann – an outstanding female composer, a successful concert pianist, a teacher, a wife, a mother and a Muse of two brilliant composers of Romanticism – was so bright that she was able to break the all previous ideas of that time about the role of a woman in society. This is evidenced by the impressive scale of the interest of researchers to her personality and creativity, the interest, which has not been extinguished in Europe for almost two centuries. Build on the literature of European scientists from different countries devoted to Clara Wieck Schumann, one can come to the conclusion that during her lifetime the work of this prominent woman was arousing the great interest of musicologists and critics (G. Schilling, F.-J. Fétis, H. Riemann), and her musical works were known and demanded. One of the most important issues that are considered in scholarly works is Clara’s personality as a representative of women who have broken the centuries-old ideas and foundations about the place of latter in society. Some of the authors (La Mara, Eva Weissweiler) tried to prove the secondary character of feminine creativity, based on cliché about that Clara Schumann herself was not always sure of the value of her musical compositions. Other researchers (F. Liszt, E. Wickop, C. Dahlhaus) argued that the work of Clara Schumann occupies a special, leading place among the history of well-known women-composers. After the death of the composer interest to her musical creativity began to fade away. Confirmation of this is almost complete absence of her works in concert programs of pianists, and even not a complete edition of the compositions of the musician. Despite this, during the twentieth century, Clara Schumann’s work continues to be carefully studied by the researchers of Germany (B. Litzmann, W. Kleefeld, K. Höcker, R. Hohenemser, A. Meurer, E. Wickop), France (R. Pitrou), England (P. Susskind, J. Chissell, N. Reich). During the last forty years, interest to Clara Wick Schumann’s creativity has grown substantially, possibly due to activation of the feminist movements in the world. Clara became one of the main objects of research about women who wrote and performed musical compositions. The culmination of this process can be called the emergence of the fundamental monograph by Janina Klassen “Clara Wieck-Schuman. Die Virtuosin als Komponistin” (1990), where the composer’s creative efforts are most fully analyzed, as well as valuable references to rare historical sources are given, including the letters from the Robert Schumann’s house in Zwickau, which have not yet been published. Conclusions. Thus, the presented large array of literary sources, being systematized by chronology and the subjects, gives an idea of the state of the studying and analysis of the cultural heritage of Clara Wieck Schumann today. The author hopes that the information collected will ease orientation in finding answers to questions arising to musicologists who explore her creativity. Summing up, we can present the generalized classification of the literature considered. So, Clara’s diaries including the records making by her father and relating to the early period of her creation, give the understanding of how the pianist’s outlook was formed. Estimative judgments about the value of composition as an important area of Clara’s creation should be sought in her epistolary heritage, in particular, in the correspondence with R. Schumann and J. Brahms. At the same place one should to look for the motives and emotional boundaries of her creativity. Answers the many questions that may arise to a performer who interprets of Clara Schumann’s music can be found in the fundamental biographical study by B. Litzmann and the articles by F. Liszt. A large layer of modern researches, which has been published since the 80s of the twentieth century, cannot be discounted as the authors rely on modern methods of analysis. Therefore, it is as if the resolved problems are being considered on a new level: from the research of forgotten pages of “XIX century women’s music” (J. Klassen), new data about Clara’s life outlook formation, and ending with issues of her music style. All these aspects give the opportunity to “collect” the creative and personal “portrait” of a genius woman of the nineteenth century.
7
Barthes, Roland. "Amar Schumann." Opus 25, no. 1 (April 30, 2019): 213–16. http://dx.doi.org/10.20504/opus2019a2510.
Повний текст джерела
8
Pedneault-Deslauriers, Julie. "Beyond Vierhebigkeit: Phrase Structure and Poetic Meaning in Three Lieder by Clara Schumann." Music Theory and Analysis (MTA) 8, no. 2 (October 30, 2021): 307–27. http://dx.doi.org/10.11116/mta.8.2.5.
Повний текст джерелаАнотація:
This vignette illuminates various creative formal and phrase-rhythmic strategies devised by Clara Schumann that demonstrate her refined approach to phrase construction and text setting. Though some scholars have noted a certain "squareness" pervading Schumann's music, I argue that this regularity often conceals deeper levels of complexity. In analyses of three Lieder, "Der Mond kommt still gegangen," "Die gute Nacht," and "Beim Abschied," and by building on recent studies applying Caplinian formal functions to vocal music, I demonstrate how Schumann overlays subtle formal deviations, intricate textural patterns, and colorful harmonic twists to complicate the apparently uniform surfaces in order to craft original and powerfully expressive formal designs. Looking both beneath and above the foursquare surface phrasing reveals that Schumann fashions compelling form-functional ambiguities and resolutions, which both enrich the surface Vierhebigkeit and compound the explicit meanings of the song texts.
9
White, Stephen. "Fighting the Philistines: Robert Schumann and the Davidsbündler." Musical Offerings 12, no. 1 (2021): 1–9. http://dx.doi.org/10.15385/jmo.2021.12.1.1.
Повний текст джерелаАнотація:
Robert Schumann was an eccentric composer and musical critic who influenced the Romantic-era musical community through the formation of the Davidsbündler. This “league of David” was Schumann’s idea of a musical society which exemplified a distinctly pure style of modern musical composition. The style of the Davidsbündler was based on the idea that music must reflect the personal life experiences of its composer. Needing a journal to publish musical writings of Davidsbündler, Schumann created the New Journal for Music. Having himself suffered from mental instability throughout his life, Schumann’s music often displayed unique levels of polarity and passion in order to show his own life experiences. Schumann’s mental polarity and instability was directly showcased in his music through the natures of fictional characters Florestan and Eusebius. These characters are clearly displayed though the piano works Carnival and the Davidsbündlertänze. Through the use of modern musical compositional techniques such as chromaticism and syncopation along with clear characterizations of Florestan and Eusebius, the Davidsbündlertänze stands as a testament to the ideals of the Davidsbündler.
10
Stewart-MacDonald, R. "Anniversary reflections: Chopin, Schumann and Schumann's circle." Early Music 38, no. 4 (November 1, 2010): 627–31. http://dx.doi.org/10.1093/em/caq097.
Повний текст джерела
11
Hoeckner, Berthold. "Schumann and Romantic Distance." Journal of the American Musicological Society 50, no. 1 (1997): 55–132. http://dx.doi.org/10.2307/832063.
Повний текст джерелаАнотація:
The poetic trope and aesthetic category of "distance" is central to Novalis's and Jean Paul Richter's definition of the Romantic, as embodied in dying sound and distant music. In the "young poetic future" proposed by the composer and critic Robert Schumann in the 1830s, romantic distance figures prominently, exemplified by the relationship between the endings of Jean Paul's Flegeljahre and Schumann's Papillons, Op. 2. Distance also provides the key for a new understanding of the relationship between analysis and poetic criticism in Schumann's review of Schubert's Great C-Major Symphony; between texted and untexted music in his Piano Sonata, Op. 11; between music and landscape in Davidsbündlertänze, Op. 6; and between the composer and his distant beloved in the Fantasie, Op. 17 and the Novelletten, Op. 21. The article presents new evidence of Schumann's reference to Beethoven's An die ferne Geliebte and Clara Wieck's Romance variée, Op. 3 in the Fantasie, and to Clara's Valses romantiques, Op. 4 in Davidsbündlertänze.
12
Synofzik, Thomas. "Rückert-Kanon als Keimzelle zu Schumanns Klavierkonzert Op. 54." Die Musikforschung 58, no. 1 (September 22, 2021): 28–32. http://dx.doi.org/10.52412/mf.2005.h1.605.
Повний текст джерелаАнотація:
Im Januar 1841 komponierte Robert Schumann ein bisher unbeachtetes kanonisches Duett für seinen Rückert-Zyklus op. 37 <Ich bin dein Baum, o Gärtner>, das keine Parallelen zur späteren Vertonung op. 101/3 aufweist. Es wurde schließlich nicht in den gedruckten Zyklus übernommen, da daraus im Mai 1841 der erste Satz von Schumanns Klavierkonzert op. 54 entstand. Das Duett wurde wenig verändert als As-Dur-Mittelteil übernommen, darum herum bildet Schumann nach einer schon 1836 geäußerten Idee einen a-Moll-Konzertsatz, der eine Synthese aus dreisätzigem Konzertmodell und Sonatenhauptsatz bildet. Dessen monothematische Anlage hat ihren Ursprung somit nicht im Hauptthema, sondern im As-Dur-Mittelteil. Durch die vokale Prägung dieses Teils erscheint dessen gängige Aufführungspraxis in einem Tempo weit unterhalb der Metronomvorschrift mit oft falschen Betonungen als verfehlt.
13
Kaprin, Aleksander Dmitrievich. "Pedagogical wishes of Professor E. K. Virsaladze in the work on R. Schumann's "Symphonic Etudes" op. 13." Философия и культура, no. 4 (April 2023): 57–69. http://dx.doi.org/10.7256/2454-0757.2023.4.40450.
Повний текст джерелаАнотація:
In this article, for the first time, the work of Professor E. K. Virsaladze in class on the "Symphonic Etudes" Op. 13 by R. Schumann was reviewed and a small performance analysis of her performance in the Great Hall of the Moscow Conservatory was given. The concert took place on April 16, 2010, on the 200th anniversary of the birth of R. Schumann. The author, being a student of her class and an assistant trainee, made notes of the teacher's wishes in the work on the "Symphonic Etudes" by the romantic composer R. Schumann. The suggestions and recommendations expressed by E. K. Virsaladze on "Symphonic Sketches" are presented for the first time and have great practical and artistic value. The author discusses in detail the work on each etude. In his work, the professor pays attention to all means of musical expression: rhythm, strokes, dynamics… Advises a certain fingering, pedal… Such work of a teacher should undoubtedly contribute to obtaining certain performing skills from students for their further development. As an example, the article examines Virsaladze's performance of "Symphonic Etudes" in the Great Hall of the Moscow Conservatory in a concert dedicated to the 200th anniversary of the birth of R. Schumann. The article is recommended for students of music universities, colleges, colleges preparing for a concert performance of Schumann's works, in particular, "Symphonic Etudes" Op. 13.
14
Perrey, Beate. "Schumann." Nineteenth-Century Music Review 1, no. 1 (June 2004): 192–93. http://dx.doi.org/10.1017/s1479409800002044.
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Seaton, Douglass. "Schumann." Nineteenth-Century Music Review 2, no. 2 (November 2005): 222–25. http://dx.doi.org/10.1017/s1479409800002421.
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16
Schmalfeldt, Janet. "From Literary Fiction to Music: Schumann and the Unreliable Narrative." 19th-Century Music 43, no. 3 (2020): 170–93. http://dx.doi.org/10.1525/ncm.2020.43.3.170.
Повний текст джерелаАнотація:
The theoretic model of the “unreliable narrative” in fiction took flight in the early 1960s; it has since become a key concept in narratology, and an indispensable one. Simply put, first-person unreliable narrators are ones about whom we as readers, in collusion with the author, learn more than they know about themselves. Romantic precursors of modernist experiments in fiction—incipient cases of narrative unreliability—arise in the works of, among others, Jean Paul Richter and Heinrich Heine, two of Robert Schumann's favorite writers. In his early solo piano cycle, Papillons, op. 2, Schumann draws inspiration from Jean Paul's novel Flegeljahre, surely capturing something of the author's unreliably quirky literary style, in part through the strategy of tonal pairing. Whereas Schumann ultimately played down the programmatic elements of Papillons that trace back to the unpredictable Jean Paul, a genuine instance of the unreliable narrator is Heine's troubled poet-persona in Schumann's Dichterliebe. Here the composer invites us to perceive a second persona through the voice of the piano—one that understands the poet better than he does, and whose music reveals from the outset that rejection in love lies ahead. The emergence of narrative unreliability in fiction may have served as an influence that drove experimentation not only for Schumann but also for some of his contemporaries and successors. Debates about musical narrativity might profit from considering the recent literary concept of a “feedback loop,” in which the author, the narrator (text), and the narratee (reader)—in our case, the composer, the performer, and the listener (including analysts, performers, and composers, who are also intensive listeners)—continually and recursively interact.
17
Liu, Jinlai, Jianping Huang, Zhong Li, Zhengyu Zhao, Zhima Zeren, Xuhui Shen, and Qiao Wang. "Recent Advances and Challenges in Schumann Resonance Observations and Research." Remote Sensing 15, no. 14 (July 15, 2023): 3557. http://dx.doi.org/10.3390/rs15143557.
Повний текст джерелаАнотація:
The theoretical development of Schumann Resonances has spanned more than a century as a form of global natural electromagnetic resonances. In recent years, with the development of electromagnetic detection technology and the improvement in digital processing capabilities, the connection between Schumann Resonances and natural phenomena, such as lightning, earthquakes, and Earth’s climate, has been experimentally and theoretically demonstrated. This article is a review of the relevant literature on Schumann Resonance observation experiments, theoretical research over the years, and a prospect based on space-based observations. We start with the theoretical background and the main content on Schumann Resonances. Then, observations and the identification of Schumann Resonance signals based on ground and satellite data are introduced. The research and related applications of Schumann Resonances signals are summarized in terms of lightning, earthquakes, and atmosphere. Finally, the paper presents a brief study of Schumann Resonances based on the China Seismo-Electromagnetic Satellite (CSES) and preliminary ideas about how to improve the identification and application of space-based Schumann Resonances signals.
18
Cao, Bing Xia, and Xiao Lin Qiao. "Schumann Resonance Measurement Based on Nonlinear Interaction." Key Engineering Materials 439-440 (June 2010): 1294–99. http://dx.doi.org/10.4028/www.scientific.net/kem.439-440.1294.
Повний текст джерелаАнотація:
Schumann Resonance relates with global temperature variations, new geophysics phenomena in the low ionosphere and short-term earthquake prediction etc. In this paper based on the nonlinear modulation model of high frequency and extreme-low frequency electromagnetic waves in low ionosphere, the Schumann Resonance observing is researched. Taking the fair weather electric field in account, the cross modulation index was 4.2×10-4. At the first Schumann Resonance observatory of China, the first 4 peaks of Schumann Resonance respectively at 7, 14, 20, 26Hz were obtained in demodulation spectra of the high frequency time service signals. The parameter characteristics of Schumann Resonance in the low ionosphere were analyzed under the geographical condition of middle latitude area. The feasibility of Schumann Resonance measurement by demodulating the spectra of HF has been verified. The non-linearity between Schumann Resonance and very low frequency signals also was discussed.
19
Hornbogen, Erhard, and Michael Pohl. "Hermann Schumann." Practical Metallography 26, no. 8 (August 1, 1989): 441. http://dx.doi.org/10.1515/pm-1989-260806.
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Storr, Anthony, and Peter F. Ostwald. "Schumann Diagnosed." Musical Times 126, no. 1713 (November 1985): 671. http://dx.doi.org/10.2307/965041.
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21
Shawe-Taylor, Desmond. "Elisabeth Schumann." Musical Times 129, no. 1750 (December 1988): 643. http://dx.doi.org/10.2307/966653.
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22
Nancy B. Reich and 장정윤. "Clara Schumann." 音.樂.學 22, no. 1 (June 2014): 137–85. http://dx.doi.org/10.34303/mscol.2014.22.1.005.
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23
Draheim, Joachim. "Schumann-Erstdrucke." Die Musikforschung 46, no. 1 (September 22, 2021): 53–60. http://dx.doi.org/10.52412/mf.1993.h1.1143.
Повний текст джерелаАнотація:
Diese Bibliographie verzeichnet Erstdrucke von Kompositionen Robert Schumanns (neben vollständigen Werken auch längere Skizzen, Früh- und Alternativfassungen), die nicht in den Arbeiten von Kurt Hofmann und Siegmar Keil erfaßt sind. Die wichtigsten sind: "Der Korsar" , die Klavierbegleitung zur Suite III C-Dur für Violoncello solo von Bach , die Violinfassung des Cellokonzerts a-moll op. 129 und der Konzertsatz d-moll für Klavier und Orchester. (Autor)
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Meissner, Thomas. "Clara Schumann." Heilberufe 67, no. 1 (January 2015): 87. http://dx.doi.org/10.1007/s00058-015-1269-y.
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Kropp, R. "Felix Schumann." Pneumologie 60, no. 05 (May 8, 2006): 290–94. http://dx.doi.org/10.1055/s-2005-915586.
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Philipp, Thomas. "Christoph Schumann." die welt des islams 54, no. 1 (April 28, 2014): 1–3. http://dx.doi.org/10.1163/15700607-00541p01.
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Stefaniak, Alexander. "Robert Schumann, Serious Virtuosity, and the Rhetoric of the Sublime." Journal of Musicology 33, no. 4 (2016): 433–82. http://dx.doi.org/10.1525/jm.2016.33.4.433.
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In several essays from the first half of the nineteenth century, Robert Schumann and other music critics used the rhetoric of the sublime when describing select, unconventionally intense virtuosic showpieces and performances, evoking this category’s associations with overpowering, even fearsome experiences and heroic human qualities. These writings formed one strand of a larger discourse in which musicians and critics attempted to describe and identify instances of virtuosity that supposedly rejected superficiality and aimed at serious aesthetic values: in the nineteenth-century imagination, the sublime abnegated mere sensuous pleasure; inspired a mixture of attraction, admiration, and trepidation; and implied both masculinity and intellectual cultivation. It offered a framework for self-consciously elevating virtuosity rooted in the sheer intensity and, in some cases, perceived inaccessibility of particular works and performances. Schumann extended the mantle of sublimity to Liszt during the virtuoso’s 1840 Leipzig and Dresden concerts. Critics described three of Schumann’s own 1830s piano showpieces using the rhetoric of the sublime, comparing the finale of the Concert sans orchestre, Op. 14, to violent forces of nature to illustrate the way its virtuosic passagework disrupts and engulfs lyrical themes within an anomalous formal structure. They also linked the Toccata, Op. 7, and Etudes symphoniques, Op. 13, to Beethoven, hinting at the ways in which Schumann alluded to or modeled these showpieces on Beethoven symphonies. These episodes in Schumann’s career broaden our understanding of the contexts in which nineteenth-century writers on music evoked the sublime, showing how they described this quality not only in symphonies and large choral works but also in solo performances and showpieces. They illuminate the politics of the sublime, revealing its significance for nineteenth-century thinking about the cultural prestige that particular musical works and performances could attain.
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Eubank, Lynn, and Kevin R. Gregg. "“Et in Amygdala Ego”?" Studies in Second Language Acquisition 17, no. 1 (March 1995): 35–57. http://dx.doi.org/10.1017/s0272263100013747.
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John Schumann and colleagues (Jacobs, 1988; Jacobs & Schumann, 1992; Pulvermüller & Schumann, 1994; Schumann, 1990a, 1990b) have argued for a neurobiological perspective on language acquisition, one that denies a role for a specifically linguistic mental module of the sort proposed by, for example, Chomsky (e.g., 1986). In this paper, we challenge this perspective by offering evidence that such a mental module must be involved in the acquisition of grammatical competence.
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Schumann, John H. "Ad Minorem Theoriae Gloriam." Studies in Second Language Acquisition 17, no. 1 (March 1995): 59–63. http://dx.doi.org/10.1017/s0272263100013759.
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Eubank and Gregg (1995) claim that “Jacobs and Schumann wish to deny the existence of UG” (p. 42). This statement presupposes the existence of Universal Grammar (UG). However, Jacobs, Schumann, and Pulvermuller see the existence of UG and its possible neural substrate as an empirical issue and, therefore, are free to explore it, examine it, and question it. If it were demonstrated that there were, in fact, no UG, it would do great violence to Eubank and Gregg's theory. However, if it were demonstrated that UG did exist, Jacobs, Schumann, and Pulvermüller could easily accommodate this fact in their positions. Jacobs (1988) and Jacobs and Schumann (1992) point out some neural arguments against UG; Pulvermuller and Schumann (1994) actually argue for a neural specialization for grammar but not specifically a UG, and Schumann (1993, 1994) examines differential success in second language acquisition by assuming a highly canalized, neural basis for grammar.
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Saroka, Kevin S., and Michael A. Persinger. "Quantitative Evidence for Direct Effects between Earth-Ionosphere Schumann Resonances and Human Cerebral Cortical Activity." International Letters of Chemistry, Physics and Astronomy 39 (October 2014): 166–94. http://dx.doi.org/10.18052/www.scipress.com/ilcpa.39.166.
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The multiple quantitative similarities of basic frequencies, harmonics, magnetic field intensities, voltages, band widths, and energetic solutions that define the Schumann resonances within the separation between the earth and ionosphere and the activity within the human cerebral cortices suggest the capacity for direct interaction. The recent experimental demonstration of the representations of the Schumann resonances within the spectral densities of normal human quantitative electroencephalographic (QEEG) activity suggests a casual interaction. Calculations supported by correlations between amplitudes of the global Schumann resonances measured several thousands of km away (which were nearly identical to our local measurements) and the coherence and current densities or these frequency bands between cerebral hemispheres for a large population of human QEEG measures indicate that such interaction occurs. The energies are within the range that would allow information to be exchanged between cerebral and Schumann sources. The near-identical solution for current density from the increasing human population and background vertical electric fields suggests that changes in the former might determine the degree of coherence between the Schumann resonances. Direct comparisons of local Schumann measurements and brain activity exhibited powerful intermittent coherence within the first three harmonics. Implications of the contributions of solar transients, surface temperature, and rapidly developing technologies to modify the ionosphere’s Schumann properties are considered.
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Saroka, Kevin S., and Michael A. Persinger. "Quantitative Evidence for Direct Effects between Earth-Ionosphere Schumann Resonances and Human Cerebral Cortical Activity." International Letters of Chemistry, Physics and Astronomy 39 (October 2, 2014): 166–94. http://dx.doi.org/10.56431/p-30a563.
Повний текст джерелаАнотація:
The multiple quantitative similarities of basic frequencies, harmonics, magnetic field intensities, voltages, band widths, and energetic solutions that define the Schumann resonances within the separation between the earth and ionosphere and the activity within the human cerebral cortices suggest the capacity for direct interaction. The recent experimental demonstration of the representations of the Schumann resonances within the spectral densities of normal human quantitative electroencephalographic (QEEG) activity suggests a casual interaction. Calculations supported by correlations between amplitudes of the global Schumann resonances measured several thousands of km away (which were nearly identical to our local measurements) and the coherence and current densities or these frequency bands between cerebral hemispheres for a large population of human QEEG measures indicate that such interaction occurs. The energies are within the range that would allow information to be exchanged between cerebral and Schumann sources. The near-identical solution for current density from the increasing human population and background vertical electric fields suggests that changes in the former might determine the degree of coherence between the Schumann resonances. Direct comparisons of local Schumann measurements and brain activity exhibited powerful intermittent coherence within the first three harmonics. Implications of the contributions of solar transients, surface temperature, and rapidly developing technologies to modify the ionosphere’s Schumann properties are considered.
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Nikolenko, R. "Soirées musicales, Op. 6 by Clara Schumann: compositional and dramaturgical principles of the cycle." Culture of Ukraine, no. 78 (December 23, 2022): 150–55. http://dx.doi.org/10.31516/2410-5325.078.19.
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The relevance of the article. Clara Wieck-Schumann is one of the most famous female composers today, an outstanding artist of the XIX century. A significant amount of musicological researches has been devoted to her performance and compositional activities, and the recognized interpreter of the music of Robert and Clara Schumann, the Belgian pianist Joseph de Benhouwer, recorded all of her piano opuses. However, some certain issues related to the specifics of C. Schumann’s compositional work still require scientific research.
The purpose of the article. Determination of the specifics of the compositional and dramaturgical solution of the program cycle of C. Schumann’s piano miniatures Soirées musicales, Op.6, which turns out to be one of the bright examples of this genre in the artist’s work and currently requires a comprehensive scientific research.
The methodology. It is based on an integrative approach, and involves the use of analytical, systematic, structural-functional, comparative and inductive methods.
The results. The cycle of piano miniatures Soirées musicales, Op. 6 is distinguished not only by its scale but also by its more pronounced programming. Unlike the other two piano cycles by C. Schumann, namely Quatre pièces characteristiques Op. 5, Quatre pièces fugitives Op. 15, which are rather a collection of diverse pieces united only by a common name, Op. 6 shows a certain dramaturgical line of development. The dramaturgy of the cycle is united with the help of a tonal arch, which is formed by a common tonality for 1 and 6 pieces. The miniatures represented in the cycle are quite diverse in their figurative structure.
Conclusions. Among the important compositional and dramaturgical principles of building a cycle are the unification of diverse material from a thematic point of view with the help of intonation relationships or certain rhythmic formulas, comparison within miniatures of the same tonality, in which the middle sections of the form are usually written, stand out.
The practical significance. The material of the article can be used in the further study of the specifics of C. Schumann’s compositional style, as well as in the study of the artist’s works in special piano classes, passing theoretical courses on the history of music and analysis of musical works.
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Ivanova, I. L. "“3 Piano Sonatas for the Young” op. 118 in a context of last works by Robert Schumann." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 26–45. http://dx.doi.org/10.34064/khnum2-13.03.
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Background. In recent years, there has been an increased interest of musicologists in the phenomenon of “late Schumann” in the aspect of usage of different historical and cultural traditions by the composer, that constituted problematic aura of given research. Modern scholars investigate this matter from several positions: bounds of Schumann’s style with antecedent music, Viennese classics and art of Baroque (K. Zhabinskiy; 2010); formation of aesthetic and stylistic principles of composer in 1840s–1850s, foreseeing musical phenomena of second half of XIX century (A. Demchenko; 2010), realization of natively national cultural meanings in “Album for the Young” op. 68 in his late works (S. Grokhotov; 2006). The content of given above and other modern researches allows to reconsider still unfortunately widely accepted conception of a “twilight” of Schumann’s genius in the last years of his creative life (D. Zhytomirskiy) and to re-evaluate all the works created by the composer in that time. In the given article, one of them is studied, “3 Piano Sonatas for the Young” op. 118, one of the last among them. This choice is effectuated by two main reasons: by op. 118 being an example of “children music” of R. Schuman, that adds additional marks to the portrait of composer, taking a journey through happy pages of his life, preceding its tragic ending; and by possibilities to study typically “Schumannesque” on this example in constantly changing artistic world of German Romantic, who was on the verge of radical changes in national art of second half of XIX century. In order to conduct a research, the following methods of studying of musical phenomena are used: historical, evolutional, genetic, genre and typological, compositional and dramaturgic, comparative. Regarded through the prism of traditions, Sonatas for the Young reveal simultaneous interjections of contained ideas both with musical past, practice of national culture, including modern one, and with author’s own experience. Dedicating every Sonata to one of his own daughters, R. Schumann continues tradition of addressing his works, a tradition, that in fact has never been interrupted. As one can judge by R. Schumann’s dedications, as a rule, they mask an idea of musical portrait. The First Piano sonata op. 11, 6 Studies in canon form op. 56, Andantino from Piano sonata op. 22 are cited (the last one – according to observation of K. Zhabinskiy). The order of the Sonatas for the Young has clear didactic purpose, as if they were mastered by a child consecutively through different phases of learning piano, that gives this triad a feeling of movement towards general goal and makes it possible to perceive op. 118 as a macrocycle. Another type of cyclization, revealed in this article, discloses legacy of works like suites and variations, created by R. Schumann in 1830s, a legacy effectuated in usage of different variative and variant principles of creating the form on different levels of structure. For example, all the movements of the First sonata are bound with motto, consisting of 4 sounds, that allows to regard this cycle simultaneously as sonata and as variations, and if we take into consideration type of images used, we can add a suite cycle to these principles. In a manner, similar to “Carnival” and “Concerto Without the Orchestra”, author’s “explanation” of constructive logic lays within the composition, in the second movement (“Theme and Variations”). To end this list, the Finale of the Third Sonata for the Young contains a reminiscence of the themes from previous Sonatas, that in some way evokes “Children’s scenes” op. 15 (1838). Suite-like traits of Sonata cycles in the triad op. 118 can also be seen in usage of different-leveled titles, indicating: tempi (“Allegro”, “Andante”), programme image (“The Evening Song”, “The Dream of a Child”) or type of musical form (“Canon”), that underscores a bound of Sonatas for the Young with R. Schumann’s cycles of programme miniatures. In addition to that, a set of piecesmovements refl ects tendency of “late Schumann” to mix different historical and cultural traditions, overcoming the limits of autoretrospection. Tempo markings of movements used as their titles allows to regard them predominately as indications of emotional and imagery content, that resembles a tradition of composer’s practice of 17th – 18th centuries. “Allegro” as a title is also regarded as an announcement of the beginning of the Sonata cycle, and that especially matters for the fi rst Sonata, that, contrary to the Second and Third, is opened not with sonata form, but with three-part reprise form. Of no less signifi cance is appearance of canon in “children” composition with respective title, a canon simultaneously referring to the music of Baroque epoch and being one of obligatory means of form-creating, that young pianist is to master. The same can be addressed to the genre of sonata. Coming from the times of Viennese Classicism, it is preserved as the active of present-day artistic horizon, required from those in the stage of apprenticeship, that means sonata belongs to the present time. For R. Schumann himself, “child” triad op. 118 at the same time meant a return to the genre of Piano sonata, that he hadn’t used after his experiments of 1830s, that can also be regarded as an autoretrospection. Comparative analysis of Sonatas for the Young and “Big Romantic” sonatas, given in the current research, allowed to demonstrate organic unity of R. Schumann’s style, simultaneously showing a distance separating the works of composer, belonging to the different stage of his creative evolution. Created in the atmosphere of “home” routine, dedicated to R. Schumann’s daughters, including scenes from everyday life as well as “grown-up” movements, Three Sonatas for the Young op. 118 embody typical features of Biedermeier culture, a bound with which can be felt in the last works of composer rather distinctly. The conclusion is drawn that domain of “children” music of the author because of its didactic purpose refl ects stylistic features of “late Schumann”, especially of his last years, in crystallized form.
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Lian, Yuanmei. "“Zwei Venetianische Lieder” by R. Schumann in the tradition of Austro-German romantic song." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 73–88. http://dx.doi.org/10.34064/khnum2-18.05.
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Introduction. Given article considers R. Schumann’s “Zwei Venetianische Lieder” / “Two Venetian Songs” (ор. 25, №17–18) on poems by T. Moore, in F. Freiligrath translation. Often the creation of the Venice ambience in art works was due to trips and impressions on this city. In 1829, R. Schumann, as a student of Heidelberg University, went on a trip to Switzerland and Italy during his study vacation. One of the cities on the travel map was Venice. R. Schumann “resurrected” the city ambience only eleven years after in the “Zwei Venetianische Lieder” (“Two Venetian Songs”), which became part of the song cycle “Myrthen” (1840). How do these two vocal miniatures, that are one of the first in the composer’s vocal creativity, reflect the individual style of his writing? Do they correlate with the nature of the “true” Schumann, who is known for his famous works, such as the cycle “A poet’s Love”? Objective. The purpose of the article is to comprehend composer methods of Venice image embodiment in “Zwei Venetianische Lieder” in the context of creative tradition of the Austro-German romantic song. Methods used in the research: 1) historical method, allowing to comprehend the selected material in the perspective of the development of Austro-German song of the 19th century; 2) intonational method, which involves the study of vocal melody in terms of melodic reactions to figurative content; 3) genre method, caused by the features of chamber vocal lyrics; 4) stylistic method, corresponding to a specific opus consideration in the general context of the composer’s creative work. The results of the study. “Zwei Venetianische Lieder” were grown up in the artistic climate of its era. The popularity of traveling in the circles of well-educated youth was a practical realization of spiritual impulses and the inner need to push the boundaries of the information space for awareness of the nature of self-own identity through a meeting with a different culture and worldview. Italy, and the entire Mediterranean areal, as the cradle of the Christian humanist culture, was a center of attraction for the German romantics. The creation of the artistic and aesthetic archetype of Italy and Venice by J. W. Goethe in “Italian Travels” and “Epigrams” has created a tradition of perception these themes not only in German literature, but also in music. R. Schumann was one of the first to respond to this creative idea. He was also the first among German composers to turn to the “poetic” Venice of the Englishman Thomas Moore and initiated the appearance of a series “Venetianische Lieder” in Austro-German music of the 19th century. A number of authors were involved in the creation of this series – F. Mendelssohn Bartholdi, A. Fesca, С. Dekker, and others. The melancholic mood of the many “Venetianisches Gondellied” written by German composers was the result of the process of mythologizing the image of Venice. The creative people (poets, writers, composers, painters) were involved in this process. They perceived this city through the prism of artistic relations, associations, and sought in its canonical symbols (channels, gondolas, sea, mirror, mask) new semantic dimensions, means of the expression of self-reflection. “Zwei Venetianische Lieder” from the song cycle “Myrthen” by R. Schumann stand apart on this list as not only the first, but also as the works distinguished by its originality. 1840 year is considered as the “song year” in the composer’s work. In this year 138 songs and the best of song cycles were written by the composer: “Liederkreis” ор. 24, “Myrthen” ор. 25, “Liederkreis” ор. 39, “Frauenliebe und Leben” ор. 42, “Dichterliebe”, ор. 48. After the “piano decade” (1829–1839) Schumann’s appeal to the song came a surprise, in particular, for the author himself. This led to the change in his musical aesthetics, to the revision of the hierarchy entrenched in the consciousness, about the primacy of music over other arts and the instrumental music over the vocal. Although the cycle “Myrten” op. 25 (1840) is one of the first in the vocal works by R. Schumann, it is distinguished by the maturity of style writing. R. Schuman’s psychological sensitivity to the poetic word is conveyed in the intonational nature of the songs, careful selection of harmonic means, finely tuned tonal plans that can emphasize both, contemplation and rebelliousness. Musical and poetic integrity is also ensured by the increased importance of the accompaniment and the piano part in whole that include the expressive instrumental introductions and postludes aimed at revealing of an image. Conclusion. The study of R.Schumann’s “variations” on Thomas Moore’s “Venice” as a separate scientific topic makes it possible to realize the scale of the creative competition established by the outstanding composer in his “Zwei Venetianische Lieder” from the vocal cycle “Myrthen”.
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MacDonald, Claudia. "Schumann's Piano Practice: Technical Mastery and Artistic Ideal." Journal of Musicology 19, no. 4 (2002): 527–63. http://dx.doi.org/10.1525/jm.2002.19.4.527.
Повний текст джерелаАнотація:
From the summer of 1830 through the fall of 1831, Schumann worked diligently at the piano with the intention of becoming a professional performer. Beginning in May 1831 he regularly recorded his progress in his diary, describing his repertory, hand position, his aesthetic and technical goals, his frustrations and triumphs. Repeatedly he wrote of the clash between a cherished ideal, nurtured in him as an amateur, of music as an expression from the heart, and what he deemed the routine music making of professionalism——a clash played out in his piano practice until it reached an impasse he was unable to resolve in his performance. The conflict Schumann experienced was related to a larger one in the world of European concert music, namely the demand for ever more dazzling exploits just as music was elevated to the highest position among the arts. This essay presents the nearest possible look into a young artist's mind as he grappled with a dilemma basic to his generation: how to embrace the newest athletic developments while still claiming music as an expressive language reaching into inner depths that are supposedly immune to its power to dazzle. As one example it shows Schumann's progress toward a finished, ideal performance of Chopin's Variations, opus 2, as this is documented in a series of exercises recorded in his practice diary. These deal little with any mechanical problems in the set but instead give a glimpse of how Schumann hoped to realize physically his imagined, ideal sound world.
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Freeman, Kevin A., Thilo Reinhard, Richard Wigmore, Douglass Seaton, Ruth C. Lakeway, and Robert C. White. "The Singer's Schumann." Notes 48, no. 2 (December 1991): 512. http://dx.doi.org/10.2307/942058.
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Black, Leo, Beate Perry, and John Worthen. "Schumann in Depth." Musical Times 149, no. 1902 (April 1, 2008): 99. http://dx.doi.org/10.2307/25434523.
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Nitschkova-Goleminova, Lilia. "Schumann - Moscheles - Paganini." Die Musikforschung 31, no. 1 (September 22, 2021): 16–28. http://dx.doi.org/10.52412/mf.1978.h1.1766.
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Lemco, Gary. "Nietzsche and Schumann." New Nietzsche Studies 1, no. 1 (1996): 42–56. http://dx.doi.org/10.5840/newnietzsche199611/21.
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WIECK, Clara. "To Robert Schumann." INTAMS review 3, no. 1 (January 1, 1997): 88–89. http://dx.doi.org/10.2143/int.3.1.2014824.
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Tunbridge, L. "Schumann as Manfred." Musical Quarterly 87, no. 3 (January 1, 2004): 546–69. http://dx.doi.org/10.1093/musqtl/gdh020.
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Azenha Júnior, João. "Robert Schumann, tradutor." Tradterm 8 (April 18, 2002): 51. http://dx.doi.org/10.11606/issn.2317-9511.tradterm.2002.49119.
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Este trabalho é parte de um projeto de pesquisa mais abrangente, cujo objetivo é a tradução comentada e anotada dos <em>Gesammelte Schriften über Musik und Musiker</em> (Coletânea Integral de Escritos sobre Música e Músicos) do compositor alemão Robert Schumann à luz de sua relação com o Romantismo alemão – literatura e estética – e com os fundamentos da crítica musical. Neste artigo introdutório, procuro oferecer uma visão panorâmica do interesse de Schumann pelas línguas estrangeiras – o cerne de sua formação no <em>Gymnasium</em> de Zwickau – e de sua atividade como tradutor de poetas gregos e latinos. A transposição para a música de sua experiência literária como escritor, leitor, tradutor e editor revela Schumann sob dois aspectos: de um lado, como porta-voz, na música, dos expoentes do Classicismo alemão e de poetas de sua geração e, de outro, como um leitor voraz que, em suas composições, faz uma interpretação muito pessoal do cânone literário de sua época.
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Artesani, Laura. "Beyond Clara Schumann." General Music Today 25, no. 3 (November 30, 2011): 23–30. http://dx.doi.org/10.1177/1048371311426900.
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Peters, U. H. "P01-242-Composer robert schumann not a bipolar. New sources." European Psychiatry 26, S2 (March 2011): 243. http://dx.doi.org/10.1016/s0924-9338(11)71953-8.
Повний текст джерелаАнотація:
According to new findings the name of Robert Schumann has to be striked off the list of famous people with bipolar disorder. The author has reviewed hundreds of hitherto unknown sources, daily notes of his psychiatrists, letters, diaries, among others. Schumann turned out to have been an alcoholic, who suffered from delirium tremens, 4 days, misdiagnosed as madness by his physicians. The famous suicidal attempt by jumping into the Rhine was just a floating rumour, not reality. Schumann was admitted to a privately owned madhouse. In spite of all his painstaking he could not free himself. His wife did not want him back. Finally he died from malnutrition and pneumonia. – Schumann always worked as easy as Mozart, according to the financial needs of his fast growing family. Attributing this to a manic state is erroneous. Already in young age Schumann had trained his “inner hearing”, he just wrote down, what he had heart. Only once in his life Schumann said himself to have been a melancholic, but that was for making up a plausible excuse for an intimate relationship to an other girl, pretending medical advice against melancholia. – All of these scattered sources are available only in German language. In two books I have written lengthy quotations in order to ease the access. However, there is no English translation available.
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Wrobbel, Sibylle, and Wolfgang Seibold. "Rezension von: Seibold, Wolfgang, Clara Schumann in Württemberg (Stuttgart – Wildbad)." Schwäbische Heimat 70, no. 3 (December 23, 2021): 375–76. http://dx.doi.org/10.53458/sh.v70i3.1318.
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Wolfgang Seibold: Clara Schumann in Württemberg (Stuttgart – Wildbad). (Schumann-Studien, Sonderband 7). Studio Verlag Göttingen 2018. 154 Seiten mit 18 Abbildungen. Fest gebunden € 24,–. ISBN 978-3-89564-188-6
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Reimer, Erich. "Zwei Miszellen zur Mendelssohn-Rezeption." Die Musikforschung 57, no. 2 (September 22, 2021): 141–51. http://dx.doi.org/10.52412/mf.2004.h2.665.
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Die Felix Mendelssohn Bartholdys Oratorium "Paulus" (Nr. 16) entnommene Bläserfanfare, die alljährlich während des Libori-Festes in Paderborn als Libori-Tusch erklingt, ist wahrscheinlich 1836, acht Wochen nach der Uraufführung des "Paulus" in Düsseldorf, zum tausendjährigen Libori-Jubiläum in Paderborn eingeführt worden. Als Vermittler kommt der Louis-Spohr-Schüler Otto Julius Gehrke (1807-1878) in Frage. Bei der Bläserfanfare am Ende des vierten Satzes der "Rheinischen Symphonie" von Robert Schumann handelt es sich mit großer Wahrscheinlichkeit um eine Anspielung auf die Bläserzwischenspiele im Wachet-auf-Choral (Nr. 16) des "Paulus" von Mendelssohn. Diese Anspielung dürfte in einem assoziativen Zusammenhang mit Schumanns Interesse am Kölner Dom gestanden haben.
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Shterev, Yordan. "Change of Schumane Frequencies." Innovative STEM Education 3, no. 1 (June 29, 2021): 164–71. http://dx.doi.org/10.55630/stem.2021.0320.
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This article presents the origin of Schumann frequencies, their measurement and monitoring. The results of their measurements are presented and their diurnal and seasonal variations are analyzed. Application areas of Schumann frequencies are discussed.
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Dörnyei, Zoltán. "THE NEUROBIOLOGY OF AFFECT IN LANGUAGE.John H. Schumann. Oxford: Blackwell, 1997. Pp. xx + 341." Studies in Second Language Acquisition 22, no. 2 (June 2000): 278–79. http://dx.doi.org/10.1017/s0272263100232051.
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During the past decade, John Schumann and his colleagues at UCLA have been pursuing a novel line of research by examining SLA from a neurobiological perspective. Several articles have reported on various phases of this extended program and now The neurobiology of affect in language offers a comprehensive summary of Schumann's theory. As suggested by the title, affect in this book is seen as central to the understanding of SLA. This is because, as the author argues, SLA is emotionally driven and emotion underlies most, if not all, cognition.
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Wißmann, Friederike. "Lyrische Momente des Fragmentarischen." Die Musikforschung 60, no. 2 (September 22, 2021): 117–28. http://dx.doi.org/10.52412/mf.2007.h2.529.
Повний текст джерелаАнотація:
Robert Schumann ist in der Neuen Musik häufig rezipiert worden. Ein Beispiel hierfür sind die "Sieben Fragmente für Orchester in memoriam Robert Schumann" von Aribert Reimann, die innerhalb des vielgestaltigen Schaffens von Reimann dessen Schwerpunkte Lied und Oper deutlich erkennen lassen.
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Jung, Sunghee. "R. Schumann Instructional considerations of Piano Pedals." Korea Journal of Donghak Studies 70 (June 30, 2024): 491–517. http://dx.doi.org/10.46639/kjds.2024.70.14.
Повний текст джерела