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Composer Michael Nyman wrote the one-act, minimalist opera The Man Who Mistook His Wife for a Hat, based off the neurological case study written by Oliver Sacks under the same title. The opera is about a professional singer and professor whom suffers from visual agnosia. In chapter 1, the plot and history of the opera are discussed. Chapter 2 places The Man Who Mistook His Wife for a Hat alongside a selection of minimalist operas from Philip Glass and John Adams. Chapter 3 contains a history of the Fluxus art movement and shows where Fluxus-like examples appear in the opera. Chapter 4 includes Nyman's usage of minimalism, vocal congruencies, and Robert Schumann as musical elements that convey the drama.

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Clara Schumann’s 1850 tour of northern Germany with her husband officially ended with a successful concert in Altona where Jenny Lind made a surprise appearance. Immediately thereafter, one more concert featuring the pianist, singer, and Robert’s music was added at the last minute to take place in Hamburg. This too was a success. But a detail that made it especially memorable was Lind’s position behind the piano lid so that, as Clara recounted in her diary, many audience members could hardly catch a glimpse of her. This paper explores the rationales and implications of this singular and fleeting moment, and teases out aspects of the two star performers’ relationship both on and off the stage. In the process, the paper draws attention to hitherto neglected variables in the performance practice of Lieder and seeks to expand our lines of inquiry with regards to the 19th-century Lied as cultural practice.

This work begins with a brief history of puppet theater in Germany. A look at important social aspects, pertinent philosophical discussions and the significance of puppet theater in the German literary tradition follow. The final chapter looks at Peter Schumann, a German puppeteer and artist who lives in America. In Germanistik, German puppet theater deserves a devoted place in the field of legitimate study in terms of its history, content and influence. Puppet theater's historical development in Germany represents the larger evolution of Germany. From ancient times up to the present day, this artistic form of representation has enjoyed an audience in the German-speaking regions. The evolution of puppet theater parallels Germany's quest for legitimacy as a nation and desire for cultural unification. A study of puppet theater thematizes the issue of popular cultural history. For most of its existence in Germany, puppet theater served as popular entertainment. The conception of folk art and folklore - which includes puppet theater - by the German Romantics led them to believe that folk artists possessed a mysterious authenticity inaccessible to Classicists and their narrowly-defined world of high art. Much German literature and thought from the 19th century onward shows a fondness for the Volk aspect of puppet theater. Puppet theater and its reception in German Romanticism helped to shape literary and philosophical themes that would lead to further recognition of puppetry as an art form and an integral aspect of German culture. In the 20th century, puppet theater took on bold new forms. Adapting to film, television, academia and the avant-garde, respected proponents of puppet theater brought the art form into the light of day. No longer did it merely consist of vulgar or mildly artistic street performances or as a vehicle for Romantic-era nostalgia. German puppet theater in the 20th century moved into the realm of mass culture with film and, more effectively, with television. It also gained footing in academia, eventually becoming a fully-recognized field of study as well as a performance medium with infinite possibilities. One can only hazard a guess as to where puppet theater will go in the future. The ability of the art form to uncannily reflect the human condition is well known. How the human condition will change and how the performers of puppet theater will respond remains to be seen.

Stilkopien anzufertigen ist ein zentraler Bestandteil von Satztechnik- bzw. Tonsatzseminaren. Ausgehend von der Komposition Erinnerung aus dem Album für die Jugend op. 68 von Robert Schumann werden hier die Arbeitsschritte von analytischen Vorüberlegungen bis hin zum fertigen Klaviersatz für ein lyrisches Klavierstück präsentiert, Strategien für verschiedene Entwürfe vorgestellt und deren Ergebnisse diskutiert. Dabei kommen melodische, harmonisch-metrische und formale Kriterien ins Spiel. Für Begleitfiguren gibt es einen Exkurs zu Mendelssohns Lieder ohne Worte. / The production of style-imitations is central aspect of compositional seminars. Proceeding from the work Erinnerung from Schumann’s Album für die Jugend op. 68, this article presents the steps ranging from preliminary analytical considerations up to the completion of the keyboard score for a lyrical piece, while strategies for various drafts are offered and their results are discussed. Melodic, harmonic-metrical, and formal criteria all play a role. Regarding accompanimental figuration, a digression addresses Mendelssohn’s Lieder ohne Worte.

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Robert Schumann (1810-1856) var en tysk romantisk tonsättare som främst har skrivit många verk för piano och sång. Han var en känslosam person med en rik inre värld, som trots många motgångar i livet alltid fann hopp i kärleken eller i fantasivärlden. Syftet med detta arbete var att utforska grunden till Schumanns musikskapande och vad som har lett honom till att komponera på det sättet han gjorde. Genom att nå en djupare förståelse för bakgrunden till hans kreativa skapandet har jag som pianist kunnat arbeta med och tolka verket Fantasiestücke Op. 12 på ett sätt som tar hänsyn till Schumanns livsöde. Studien genomfördes metodiskt med hjälp av olika litteraturstudier samt internetkällor. För instuderingen av verket Fantasiestücke Op. 12 användes noter av G. Henle-förlaget. Studiens resultat visade, vilken stor roll litteraturen, kärleken till Clara Wieck och Schumanns psykiska ohälsa spelade för skapandet av hans pianoverk Fantasiestücke Op. 12. Verket skrevs under sommaren 1837, en tidsperiod, där han var mycket fascinerade av romantikens stora författare E.T.A. Hoffmann. Samtidigt var det en tid där han började drabbas av olika sjukdomar som ledde till en signifikant handskada och förstärkt psykisk ohälsa. Det var också fasen då han kämpade för att förverkliga sin kärlek med Clara Wieck.

Made available in DSpace on 2016-04-28T20:40:15Z (GMT). No. of bitstreams: 1 Andre Luiz Iorio.pdf: 21607129 bytes, checksum: bc5704eede7b59e10ef459de07dc5a27 (MD5) Previous issue date: 2010-05-12 / The author tries to approach the relation between Robert Schumann‟s life, his musical works and his psychosis. An extensive phenomenological analysis has been developed involving the letters from his youth to maturity, his personal diary and wedding diary and his musical scores. In methodological terms, the author relates the phenomenology of music and an existential phenomenological analysis. Concerning the phenomenology of music, the text is focused on the tradition of phenomenological aesthetics which includes authors as Merleau-Ponty, Mikel Dufrenne and Thomas Clifton. Concerning the existential phenomenological approach, the author tries to build a dialogue with early twentieth century phenomenological psychiatric tradition involving Karl Jaspers, Eugene Minkowski and Ludwig Binswanger. Musical analysis starts from objective analysis and culminates in the development of a phenomenological approach with special emphasis to corporality, materiality, time, space and pathos. The author concludes that Schumann‟s music expresses the hidden forces that were always present in his tormented life / O autor tenta abordar a relação entre a vida de Robert Schumann, suas obras musicais e sua psicose. Uma extensa análise fenomenológica foi realizada envolvendo as correspondências (cartas) desde sua juventude até a maturidade, seu diário pessoal e de casamento e suas partituras. Em termos metodológicos, o autor relaciona a fenomenologia da música com uma análise fenomenológico existencial. No que diz respeito à fenomenologia da música, o texto está focado na tradição da estética fenomenológica que inclui autores como Merleau-Ponty, Mikel Dufrenne e Thomas Clifton. No que diz respeito à abordagem existencial fenomenológica, o autor tenta construir um diálogo com a tradição da fenomenologia psiquiátrica do início do século XX envolvendo Karl Jaspers, Eugene Minkowski e Ludwig Binswanger. A análise musical começa a partir da análise objetiva e culmina com o desenvolvimento de uma abordagem fenomenológica, com ênfase especial à corporalidade, materialidade, tempo, espaço e pathos. O autor conclui que a música de Schumann expressa as forças escondidas que estavam sempre presentes em sua vida atormentada