Este trabalho tem como objetivo apresentar um modelo de análise musical que fundamenta uma possibilidade interpretativa dos Lieder - gênero musical resultante da fusão das linguagens poética e musical - de Clara Schumann, pianista e compositora alemã do século XIX que teve papel relevante no cenário musical de sua época, realizando a primeira audição e divulgação da obra de muitos dos seus contemporâneos, especialmente de seu marido, Robert Schumann. As análises evidenciam o elevado nível artístico dessas composições, as quais abordam questões relacionadas ao período romântico em um contexto musical extremamente elaborado. A gravação que acompanha esta dissertação pretende oferecer um esboço de possibilidades para a interpretação dos Lieder analisados. / This paper introduces a musical analysis model which underlies an interpretative possibility of the Lieder - musical form resulting from the fusion of poetry and music - by Clara Schumann, German pianist and composer of the 19th Century. Her role in the musical scenario was quite relevant, since she held first auditions and thus disseminated the works of many contemporary composers, specially her husband, Robert Schumann. The analysis corroborates the high artistic level of these compositions, which bring into contact with issues related to the romantic period in a highly elaborated musical work. The included CD offers interpretation possibilities for the analyzed Lieder.

Cette étude porte sur un corpus de toccatas et toccatinas pour piano écrites dans le monde entier de 1781 jusqu’à 1993. Elle a pour objectif de comprendre ce que signifie le terme « toccata » tout au long de l’histoire, quelle sont les diverses caractéristiques du genre à travers les périodes différentes, et quel est le rapport entre la toccata pour piano et l’esthétique de la virtuosité. L’auteur commence par observer l’évolution de la compréhension du terme sous les yeux des savants et des érudits de différentes époques, et une série de toccatas pour orgue et clavecin de Johann Sebastien Bach et d’Alessandro Scarlatti, afin de démontrer les caractéristiques principales du genre avant sa transmutation instrumentale. L’étape suivante consiste en une étude analytique du corpus principal. Elle décrit la transformation de la toccata de type pédagogique en un genre de niveau supérieur à l’exercice par son exigence architecturale et son animation. La toccata se dirige ensuite vers un esthétique extrême et surhumaine au XXe siècle. Par ailleurs, elle reflète la grande diversité des types de virtuosité dans des époques différente : celle créative et improvisatrice du temps de Bach, celle des techniques digitales raffinées de la génération de Clementi, etc. Aujourd’hui, avec une esthétique de virtuosité qui prend de plus en plus en compte l’aspect athlétique, la toccata, souvent accompagnée des techniques pianistiques stimulantes, devient une façon idéale de démontrer les capacités extraordinaires du pianiste, ce qui constitue les raisons de son succès auprès des compositeurs, des pianistes, et des auditeurs. / This study relies on a corpus of piano toccatas and toccatinas written in the world from 1781 to 1993. Its purpose is to understand what the term ‘‘toccata’’ means throughout history, what are the various characteristics of the genre in different periods, and what is the relationship between the toccata for piano and the aesthetics of virtuosity. The author starts by observing the evolution of the understanding of the term by scholars living in different eras, and a series of organ and harpsichord toccatas by Johann Sebastian Bach and Alessandro Scarlatti, in order to demonstrate the principal features of the genre before its instrumental transmutation. The next stage consists of an analytical study of the main corpus which designates the transformation of the toccata from a pedagogical genre to that of a higher level by its architectural requirement and its animation, then to one that moves towards an extreme and superhuman aesthetic in the twentieth century. Finally, the study shows that the toccata represents a diversity of types of virtuosity in different eras: the creative and improvisatory type in Bach’s time, the refined digital techniques of Clementi’s generation, etc. Today, with an aesthetic of virtuosity that increasingly takes into account the athletic aspect, the toccata, often accompanied by stimulating piano techniques, becomes an ideal way of demonstrating the extraordinary abilities of the pianist, which constitutes its success among composers, pianists, and listeners.

Considerando as principais apreensões teóricas acerca da relação entre arte e loucura, define-se amplamente o propósito deste trabalho verificar as relações entre música e loucura no campo da recepção estética, enquanto subárea da Psicologia Social da Arte. Partindo sobretudo da perspectiva crítica de Michel Foucault, entre outros autores, consideramos a loucura um complexo fenômeno sócio - histórico que atravessa a cultura ocidental, e não a loucura como doença mental e o louco como fato. E dado o papel fundamental da atividade do espectador na produção e na circulação dos sentidos das obras de arte, realizamos um estudo sobre a percepção estética da obra de Robert Schumann, músico romântico do século XIX, cuja existência foi atravessada pela experiência trágica da loucura. Selecionamos alguns trabalhos significativos desse compositor e os apresentamos aos sujeitos da pesquisa, isto é, músicos eruditos, especificamente pianistas, que entrevistamos individualmente com o propósito de investigar a percepção da loucura vinculada à percepção da obra musical de Schumann. A reflexão fenomenológica a partir das percepções expressas pelos pianistas configurou três perspectivas: biográfica, psicopatológica e poética. A consideração desse conjunto teve por implicação um estudo teórico-crítico do campo multifacetado do Romantismo, estudo que focou principalmente as concepções de sujeito, universo e música ( assim como suas relações) que emergem na tempestade romântica. Tal estudo ensaístico permitiu-nos discutir mais amplamente, com base principalmente em Barthes e Merleau-Ponty (entre outros críticos e historiadores da arte), a questão arte-loucura, no tocante à música, articulada à questão vida-obra do artista, vida e obra que guardam aspectos trágicos em sua gênese e em sua forma / Considering the main theoretical apprehensions regarding the relation between art and madness, the purpose of this work is defined broadly to verify the relations between music and madness in the field of aesthetic reception, as a subarea of the Social Psychology of Art. Starting primarily from the critical perspective of Michel Foucault, among other authors, we consider madness a complex social historical phenomenon that crosses the western culture, and not the madness as a mental illness and the mad person as a fact. And given the fundamental role of the spectators activity in the production and circulation of the senses of the works of art, we conduct a study on the aesthetic perception of Robert Schumanns work, a romantic musician from the 19th century, whose existence was crossed by the tragic experience of madness. We selected some significant work from this composer and presented them to the subjects of the research, i.e., erudite musicians, specifically pianists, that we interviewed individually with the purpose of investigating the perception of madness bound to the perception of Schumanns musical work. The phenomenological reflection carried out from the perceptions expressed by the pianists constituted three perspectives: biographical, psychopathological and poetic. The consideration of this set had as an implication a theoretical critical study of the multifaceted field of the Romanticism, study that focused mainly on the concepts of subject, universe and music (as well as its relations) that emerge in the romantic storm. This essayistic study allowed us to discuss more broadly, based on Barthes and Merleau-Ponty (among other philosophers, critics and art historians), the art-madness matter, regarding the music, articulated to the artists life-work matter, life and work that hold tragic aspects in its genesis and its form

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.

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.

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.

No description available.

The Novelletten of Robert Schumann stand out as unusual among his works for solo piano. It is the largest cycle of character pieces in his output and has other distinguishing features. One unusual aspect of the work is its abundance of literary references which Schumann revealed at various points when it was being composed. This is an aspect unique to this cycle since Schumann's other cycles refer to a single literary source. One of the purposes of this paper is to discuss these numerous literary references which have never been examined in any detail before. Present in the Novelletten is a use of musical motives from works of his wife Clara. There are also musical references to other composers such as Beethoven and Haydn. This quoting of himself and others is not an uncommon practice for Schumann but here, in context with remarks made by Schumann himself about the work, the nature of his use of these musical references becomes more transparent. One of the main points being made through this discussion of literary and musical references in the Novelletten is that partly through these elements the work is unified into an eight movement cycle.

Many of the song cycles written by Schumann have been studied over the years and it is well known that his most prolific time of song production was the year 1840. Myrthen, Op. 25, has been studied less than some of his other cycles because it calls into question the modern view of the song cycle and for this reason is difficult to classify. What is most difficult about the classification of Op. 25 is that there is no immediately apparent narrative. In addition, the musical relationships which exist are usually considered to be of little consequence. What scholars are left with is a group of songs that in Schumann's mind constituted a song cycle but to the modern eye seems to be anything but. The most prevalent view concerning the organization of Op. 25 is that it is a collection of songs. Given his view of Lieder and his compositional process, in addition to the fact that it was presented to Clara as a wedding gift, I believe that Schumann had a specific organization in mind for this work. In this thesis I argue that due to the way in which Schumann conceived of and composed song cycles, the musical relationships are not what bind Op. 25 together although these relationships do exist. Instead, the organization hinges mainly on the text which represents a narrative of the relationship between Robert and Clara, which differs from the modern view of what classifies a group of songs as a cycle.

The primary purpose of this thesis is to give the prospective performer of Schumann's piano works a better understanding of his many works for the piano and to give the pianist, and musicians in general, a better understanding of the pianistic devices employed by Schumann in his works for this instrument. Schumann rose to great heights for short intervals. He possessed enthusiasm, humor, charm, and eloquence. Such qualities have kept his music alive and have provided his listeners with lasting pleasure. Much of his music represents the nobility and warm-heartedness that characterized early Romanticism at its best.