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

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

abstract: This project details specific placement and usage of the Clara motive in Robert Schumann’s Dichterliebe. The analysis categorizes the motive according to its different shapes and relationships to the poetry in Dichterliebe. Four main permutations of the motive are discussed in great detail: the original motive, inverted motive, retrograde motive, and retrograde inverted motive. Schumann (1810–1856) composed more than 160 vocal works in 1840, commonly referred to as his Liederjahr. At the time, Schumann and Clara Wieck (1819–1896) were planning to marry, despite the objections of her father Friedrich Wieck (1785–1873). Robert was inspired to write Dichterliebe because of the happiness-and anxiety-surrounding his love for Clara, and the difficulties leading to their impending marriage. Schumann used the Clara motive (C-Bb-A-G#-A), which incorporates the letters of her name, throughout the song cycle in special moments as a tool of musical expression that alludes to his future wife. Eric Sams (1926–2004), a specialist of German Lieder, has made significant contributions to the research of the Clara motive in Schumann’s music (through his book The Songs of Robert Schumann). However, research into specific locations and transformations of the Clara motive within the Dichterliebe are still insufficient. A further awareness of the Clara motive’s inner working is intended to help performers interpret this song cycle. / Dissertation/Thesis / Doctoral Dissertation Music 2019

The purpose of this work, an analysis of the song cycle Dichterliebe (Op. 48) by Robert Schumann, is to recognize the special features of the songs which will contribute to their understanding and musical interpretation and performance. The Dichterliebe was chosen as the composition to be analyzed because of its prominent position in the vocal literature of the Romantic period.

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

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

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

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