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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
51

Genre and gesture : Robert Schumann's piano music for and about children

Hiser, Beth Ann, 1978- 16 August 2011 (has links)
Not available / text
52

The role of the piano in the songs Schubert, Schumann, Brahms and Wolf

Schoenfeld, Morton Gerald. January 1944 (has links)
Thesis (M.M.)--University of Wisconsin--Madison, 1944. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 87-88).
53

Thematic unification in Robert Schumann's Fantasia, op. 17

Rozanski, Rudy Mark January 1988 (has links)
Many have criticized Schumann's compositional style as being incompatible with sonata form. For example, his Fantasia, Op. 17 appears to be a series of cleverly interactive themes which, by virtue of their poetic diversity and dramatic momentum, manage barely to function within the confines of a quasi-sonata form. Schumann's discomfort, some would say, is made evident by the absence of developmental sections in the outer two movements, by the invasion of literary and musical quotation, and even by the rhetorical presentations of his too lyrical themes. Such appraisals focus on that which is absent or unusual, ignoring the inherent craftsmanship and masterful motivic manipulation exhibited throughout the Fantasia. Schumann does not explore and reveal the latent energy in a collection of motives; rather, he varies, transforms, mutates and metamorphizes a few cellular ideas into a collage of richly diversified themes, all of which bear the stamp of these "genetic" cells. Much of the musical momentum in the Fantasia derives its energy from the surface interplay of those themes; thus the engine of the form is more closely akin to variation and cyclic techniques than to those involving thematic development. The essential purpose of this paper is to explore thematic processes in Schumann's Fantasia, these being fundamental to the language of the work. The paper also encompasses a history of the fantasia genre, an overview of Schumann's aesthetics, and a brief discussion of the Fantasia's structure. / Arts, Faculty of / Music, School of / Graduate
54

A study of Robert Schumann's Impromptus, Op. 5 : its sources and a critical analysis of its revisions

Stevens, Claudia A. January 1977 (has links)
Like a number of early compositions by Schumann, the Impromptus, Op. 5, was considerably revised in later years. It is one of only several works whose early and later versions are both included in the complete edition of his works published by Breitkopf and Hartel. Brahms, co-editor with Clara Schumann of this edition, was probably responsible for the inclusion of the two separate versions, recognizing the distinct virtues of the first, possibly even its superiority to the second. [TRUNCATED]
55

Der Prozeß : Clara und Robert Schumanns Kontroverse mit Friedrich Wieck /

Preiß, Friederike. January 2004 (has links)
Zugl.: Düsseldorf, RSH, Diss., 2004.
56

Recasting the eighteenth-century sonata-form narrative : compositional strategies in Robert Schumann's Opp. 105 and 121 violin sonatas / Recasting the eighteenth century sonata form narrative

Fuchs Sampson, Sarah E. January 2010 (has links)
Although Robert Schumann’s late style has been the subject of several probing studies in recent years, few scholars have concentrated their attention on the chamber works composed in the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the same rhetorical and structural elements. Throughout both movements, however, Schumann uses an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to recast the internal workings of these outwardly conventional sonata forms. As he uses these techniques to undermine important structural moments of each movement, Schumann significantly changes the overall plot of the eighteenth-century sonata form, while also demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works. / School of Music
57

„Nicht schnell, aber mit Leidenschaft“

Wiermann, Barbara 10 March 2016 (has links)
Mit Freude verkündet die SLUB Dresden den Erwerb der Skizzen zu Robert Schumanns Klaviertrio Nr. 1, op. 63. 25 mit Bleistift und Tinte fein beschriebene Seiten erlauben es, sich dem Werk neu zu nähern.
58

Das Klavierkonzert des 19. Jahrhunderts und die Kategorie des Symphonischen : zur Kompositions- und Rezeptionsgeschichte der Gattung von Mozart bis Brahms /

Koch, Juan Martin. January 2002 (has links)
Diss.--Regensburg, 1999. / Bibliogr. p. 355-382.
59

Piano quintet in Eb major, op. 44 by Robert Schumann : transcribed for clarinet quartet and piano

Manzo, Erica France 08 August 2011 (has links)
Not available / text
60

The piano fragment and the decomposing of the musical subject from the Romantic to the postmodern

Musca, Lisa Ann, January 2007 (has links)
Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 226-233).

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