This book explores the connections between art and life in the works of three giants of musical romanticism. Drawing on contemporary critical theory and a wide variety of 19th-century sources, it ...considers topics including Schubert and Schumann's uncanny ability to evoke memory in music, the supposed cryptographic practices of Schumann and Brahms, and the allure of the Hungarian Gypsy style for Brahms and others in the Schumann circle. The book offers a fresh perspective on the music of these composers, including a discussion of the 19th-century practice of cryptography, a debunking of the myth that Schumann and Brahms planted codes for “Clara Schumann’ throughout their works, and attention to the late works of Schumann not as evidence of the composer's descent into madness but as inspiration for his successors. The book portrays the three key players as musical storytellers, each in his own way simulating the structure of lived experience in works of art.
This book, written in the form of a series of dialogues between the Schumannian characters Florestan and Eusebius, proposes a theory of metrical conflict that rigorously develops the metaphorical ...application of the concepts of consonance and dissonance to metrical phenomena. An introductory chapter traces the history of this metaphor from its origins in the early 19th century through to the 20th century. In a series of theoretical chapters, the book then presents detailed descriptions of various types of metrical dissonances (particularly important types are grouping dissonance — based on the association of incongruent metrical layers, and displacement dissonance — based on the non-aligned presentation of congruent layers); a system of labels to characterize specific dissonances; explanations of musical processes that arise from the formation, manipulation, and resolution of these dissonances; and a discussion of the interaction of metrical dissonance with pitch structure, form, and extramusical elements. The emphasis throughout is on the description of the ever-changing metrical states within pieces of music, and on the characterization of the metrical progressions formed by these changing states. The theoretical chapters are interspersed with three intermezzi that adopt a historical or performance-related approach to the topic; these deal, respectively, with influences on Schumann's metrical style; with Schumann's compositional process as it relates to metrical dissonance; and with performance issues arising from metrically dissonant passages. Throughout the book, the theory is applied mainly in the analysis of Robert Schumann's music, but analyses of the music of 18th-century, other 19th-century, and early 20th-century composers are also included.
The series publishes monographs and edited volumes that showcase significant scholarly work at the various intersections that currently motivate interdisciplinary inquiry in German cultural studies. ...Topics span all periods of German and German-speaking lands and cultures from the local to the global, with a special focus on demonstrating how various disciplines - history, musicology, art history, anthropology, religious studies, media studies, political theory, literary and cultural studies, among others - and new theoretical and methodological paradigms work across disciplinary boundaries to create knowledge and add to critical understanding in German studies broadly. All works are in English. Three to four new titles will be published annually.
Rufus Hallmark's book explores Robert Schumann's beloved yet controversial song cycle Frauenliebe und Leben and the poems of Adelbert von Chamisso on which it is based, setting them in the context of ...the challenges and social expectations faced by women in early nineteenth-century Germany. Hallmark provides the most extensive English-language study of Chamisso, a poet little known today outside Germany, including a biographical sketch and excerpts from his other poetry. He examines a range of poems about women, by Chamisso and others, and discusses the reception of the poetic and musical cycles, including illustrated editions, contemporary reviews, and other musical settings. Based on new studies of Schumann's manuscript sources and on comparative analyses of his songs and settings by Carl Loewe, Heinrich Marschner, Franz Lachner and others, Hallmark provides fresh musical and interpretive insights into each song.
The several editions of Schumann's diaries refer us to at least two drinking styles in his university years, both of them with a flavour of "wine, women and song" fraternities. He plunged headlong ...into all this for a start, finding it elevating and then considering it self-medicating. He drank to excess for a while but he stopped short, unable to go further to the bitter end because he could not develop a tolerance and mostly because he was afraid of madness.
This article argues that Robert Schumann and Johannes Brahms gave their music a blurry, Romantic quality by distorting well-known harmonic progressions. After identifying the basic progression that ...underpins the music, the analyses discuss the rhythmic dislocations that cause chords to overlap and merge together. The essay bridges a gap between an important aspect of the Romantic aesthetic and our theoretical understanding of Schumann's and Brahms's harmonic vocabulary.
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Four of Schumann's great masterpieces of the 1830s - Carnaval, Fantasiestucke, Kreisleriana and Nachtstucke - are connected to the fiction of E. T. A. Hoffmann. In this book, John MacAuslan traces ...Schumann's stylistic shifts during this period to offer insights into the expressive musical patterns that give shape, energy and individuality to each work. MacAuslan also relates the works to Schumann's reception of Bach, Beethoven, Novalis and Jean Paul, and focuses on primary sources in his wide-ranging discussion of the broader intellectual and aesthetic contexts. Uncovering lines of influence from Schumann's reading to his writings, and reflecting on how the aesthetic concepts involved might be used today, this book transforms the way Schumann's music and its literary connections can be understood and will be essential reading for musicologists, performers and listeners with an interest in Schumann, early nineteenth-century music and German Romantic culture.
In this article, I posit and develop the principle of tonal ebb to account for breaches of harmonic syntax in the normative tonal flow of common practice era music, with special reference to V going ...to II. Though typically forbidden, V—II progressions occasionally arise in a handful of special cases. Rarely, one may encounter a
sunken II chord
: this is my term for an apparent, diatonic II chord that arises from contrapuntal motion within V in major keys. To ground this rather abstract contrapuntal artifact and highlight its unique affective properties, I develop a conceptual model for the apparent V—II—V tonal formation that draws on an analogy to a folding technique from origami. Owing to its voice leading properties, the sunken II chord is particularly well-suited to conveying a sense of “that which lies within” in musical terms. I argue that Robert Schumann was sensitive to this effect—consciously or unconsciously—and that he employed it in his songs to underscore moments of inwardness, introspection, or heightened subjectivity in the poetry. I proceed to investigate three Schumann songs from 1840 that feature a text-music correspondence involving a prominent sunken II chord and some manner of inward turn in the text.
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