Subjective appropriation of musical form in Schumann’s Carnaval, op. 9
Main Article Content
Abstract
The aim of this article is to analyze musical form in german composer Robert Schumann’s works (8 June 1810 – 29 July 1856), particularly that of piano solo piece Carnaval, op. 9, trying to understand what is revealed by the way he uses it in relation to his personality, not only in artistic terms (taking into account the context of German Romanticism) but also on a deeper psychological level. To come to an understanding of Schumann’s use of form, this paper begins with a brief description of the evolution of musical form since Viennese Classicism, with additional references to the baroque system of ‘affects’. Form in Schumann is compared with that of other significant composers of the romantic period and various points of intersection between music and other arts are analyzed, especially literature, in certain key works of this period. Parting from these reflections, we explore the question of the expressive intention behind his handling of form in Carnaval, op. 9. The aim of the investigation of this aspect is to understand how far the innovatory use of this parameter in Schumann, reflects a unique vision of the art of music.
Downloads
References
Antovic, M. (2004). Linguistic semantics as vehicle for a semantic of music. Conference on Interdisciplinary Musicology. Graz: R. Parncutt, A. Kessler & F. Zimmer (Eds.)
Axthelm, D. H. (2010). Robert Schumann-Eine musikalisch- psychologische Studie. Stuttgart: Philipp Reclam
Barthes, R. (1979). Aimer Schumann, in Marcel Beaufils (1979)
Beaufils, M. (1979). La musique pour piano de Schumann. Paris: Éditions Phébus
Blatter, A. (2007). Revisiting music theory: a guide to the practice. New York: Routledge
Brisson, E. (2005). Guide de La Musique de Beethoven. Paris: Fayard
Chomsky, N. (1970). Le Langage et la Pensée. (trans. Louis-Jean Calvet). Paris: Petite Bibliothèque Payot
Daverio, J. (1997). Robert Schumann. Herald of a new poetic age. New York: Oxford University Press
Dawson, M. Dupuis, B. & Wilson, M. (2010). From Bricks to Brains. The Embodied Cognitive Science of Lego Robots. Edmonton : AU Press
Eckerty, C. D. (2008). Narrative Strategies in Robert Schumann's "Davidsbuendlertaenze" and "Dichterliebe" (PHD dissertation). Kansas City, Missouri : ed. autor
Field, C. D. S. (2001). "Fantasia". The New Grove Dictionary of Music and Musicians. edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers
Floros, C. (1981). Schumann's musikalische Poetik. Robert Schumann I, MusikKonzepte. Munich: Johannesdruck Hans Pribil KG
Gorbaty, J. (1986). Polish Folk Music and Chopin's Mazurkas. Chopin Journal vol. 1. http://www.chopin.org/
Hanslick, E. (1973). Vom musikalisch – Schönen. Ein Beitrag zur Revision der Ästethic der Tonkunst. Darmstadt: Wissenshaftliche Buchgesellschaft (1st edition. 1854, Leipzig: R. Weigel)
Hegel, G. W. F. (1988). Enciclopédia das Ciências Filosóficas em Epítome. Vol. I, A Ciência da Lógica. Lisboa: Edições 70
Jaspers, K. (2001). Genio artistico y locura. (trans. Adan Kovacsics). Madrid : Acantilado
Kennedy, M. (1994). Dicionário Oxford de Música. (trans. Gabriela Gomes da Cruz and Rui Vieira Nery). Lisboa: Publicações Dom Quixote
Ostwald, P. (with Ostwald, L. D.). (1985/2010). Schumann. The inner voices of a genius. Hanover/London: Northeastern University Press
Paddison, M. (1993). Adorno’s Aesthetics of Music. New York : Cambridge University Press https://doi.org/10.1017/CBO9780511549441
Rameau, J. (2009). Traité de l’harmonie. Paris : Zurfluh editeur (1st edition. 1722, Paris: Imprimeur du Roy pour la Musique)
Reiman, E. (2004). Schumann's Piano Cycles and The Novels of Jean Paul. Rochester: University of Rochester Press
Sandberger, W. (1996). Liner notes to the Juilliard String Quartet's Intimate Letters. Sony Classical SK 66840
Schmidt-Jones, C. (2011). Form in Music. Rice University, Houston, Texas : Connexions
Schnebel, D. (1981). Rückung-Verückungen- Psychoanalystische und musikalanalystische Betrachtungen zu Schumann Leben und Werk. Robert Schumann I, Musik Konzepte. Munich: Johannesdruck Hans Pribil KG
Schonberg, H. C. (1997). The Lives of the Great Composers. New York: WW. Norton
Sly, G. (2009). Keys to the Drama. Nine Perspetives on Sonata Forms. Wey Court East, Surrey: Ashgate Publishing
Solaun, J. (2011). Schumann's Davidsbündlertänze opus 6 and the Logic of Discontinuity (PHD dissertation). New York: Manhattan School of Music Suzuki, S. (1969). Nurtured by Love. A New Approach to Education. New York : Exposition Press
Viana, A. (2009). Música absoluta: uma breve análise meta-crítica. Acedido em Outubro 23, 2014, em http://www.meloteca.com/pdfartigos/andersen-viana_musica-absoluta.pdf
Walker, A. (1989) Franz Liszt: The Weimar Years, 1848-186. Ithaca : Cornell University Press
Wittgenstein, L. (1977). Philosophische Untersuchungen. Frankfurt am Main : Suhrkamp Taschenbuch Wissenschaft
Zakrewska, D. (1999). Adam Mickiewicz's 'Ballady' and Chopin's Ballades. Polish Music Journal 2. http://www.usc.edu/dept/polish_music/PMJ