Music Theory Commons^™

Balance And Motivic Unity In The Finale Of Robert Schumann's Piano Sonata, Op. 11, Robert B. Carlson

Senior Honors Projects, 2020-current

Robert Schumann’s first piano sonata, op. 11, is of great importance within his compositional output, but it is faced with undue neglect in performance and in-depth analytical study. Though he has been criticized for his inability to handle large forms, this sonata exemplifies a thorough sense of design, unity, and intricacy in his writing. There exists a considerable dearth of analysis that focuses specifically on the voice-leading structure of this sonata. Such an approach would shed light on the way Schumann engages with larger structures.

The first three movements of this work set a precedent of organic self-awareness in the …

Harmonic, Tonal, And Formal Asynchrony In Robert Schumann's Frauenliebe Und Leben, Kelli E. Bomberger

Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance

This thesis explores the asynchrony among form, harmony, and tonality in Robert Schumann’s Frauenliebe und Leben, Op. 42. Using several theoretical lenses, this study identifies and analyzes a selection of songs from this work that distort tonal, harmonic, and formal relationships and how the text setting may inform these distortions. This is shown through detailed analyses of several songs from the cycle that highlight areas of asynchrony. The first section of this document explores the background of Frauenliebe und Leben and draws upon other musical examples in order to establish working definitions of asynchronous elements. The following sections are …

Schumann’S Frauenliebe Und Leben: An Analysis Of “Nun Hast Du Mir Den Ersten Schmerz Getan”, Emily Schwitzgebel

Black & Gold

"Nun hast du mir den ersten Schmerz getan" ("Now you have caused me pain for the first time") is the eighth and final song in Robert Schumann's Frauenliebe Und Leben song cycle, based upon a poem cycle by Adelbert con Chamisso, which follows the stages of love as told by the woman—the narrator. Unique from the previous seven songs in both content and musicality, this song mourns the loss of the woman in the poem’s husband. Schumann uses techniques such as tonal unclarity, dynamics, tempo markings, and a lack of cadences in order to connect the music to Chamisso's words, …

Exploring The Past, Present, And Future Of Romanticism: Analyses With Brief Biographies Of Works Performed In A Senior Recital, Jordan Langberg Hastings

Honors Theses and Capstones

A melodic and harmonic analysis of four instrumental works performed in a senior recital is presented in this thesis with brief biographical outlines of each composer. Three of the works, Johann Wenzel Kalliwoda's Morceau de Salon, Edmund Rubbra's Sonata in C, and Robert Schumann's Three Romances are written for oboe and piano. The remaining piece, Paul Hindemith's English Horn Sonata, is written for English horn and piano. The author provides a detailed and methodical approach for understanding the functionality of each piece.

Directional Tonality In Schumann's Early Works, Benjamin K. Wadsworth

Faculty and Research Publications

Beginning and ending a work in the same key, thereby suggesting a hierarchical structure, is a hallmark of eighteenth- and nineteenth-century practice. Occasionally, however, early nineteenth-century works begin and end in different, but equally plausible keys (directional tonality), thereby associating two or more keys in decentralized complexes. Franz Schubert’s works are sometimes interpreted as central to this practice, especially those that extend third relationships to larger, often chromatic cycles. Robert Schumann’s early directional-tonal works, however, have received less analytical scrutiny. In them, pairings are instead diatonic between two keys, which usually relate as relative major and minor, thereby allowing Schumann …

A Study Of Robert Schumann’S Liederkreis Op.39: Tracing Themes Of Nature From Poetry To Music, Mary H. F. Harkrader

Undergraduate Theses and Capstone Projects

The purpose of this research was to gain information on Robert Schumann and trace themes of nature within his Liederkreis Op. 39. The specific problems of this study were as follows: 1.) to analyze the lieder of Schumann’s Liederkreis Op. 39 in terms of form; 2.) to identify and trace the themes of nature in Liederkreis Op. 39; and 3.) to identify how these themes are found in both the music and poetry of Liederkreis Op. 39. A brief section of research places this specific song cycle in the context of time, place, and composer.

Volume 53, Number 08 (August 1935), James Francis Cooke

The Etude Magazine: 1883-1957

Forty Years in Showdom

And the Twain Shall Meet (interview with Armand Tokatyan)

Parent's Musical Opportunity

On Hearing the Lesson: Miss Kammerer's Lucid and Practical Expositions of Her Highly Successful Pedagogical Ideas Are Widely Welcomed by Teachers

Etude Day in the Public School

Program for Our Mothers

Couppey Suggestion

How Scotland Sings Her Story

Know Your Piano: Your Piano Has Over Six Thousand Parts; It Pays to Know Something About Them

Making My Family Musical: What It Has Meant to Their Lives and Mine

Romances of Great Musicians: Romance in the Life of Schumann

Why Every Child Should Have a …

Volume 51, Number 01 (January 1933), James Francis Cooke

The Etude Magazine: 1883-1957

Fountains of Youth

Inspiring Message to Students of Singing (interview with Lucrezia Bori)

Chant d'un Voyageur: Vienna, Capital of the Kingdom of Music

Four-Hand Players' Treasury

Musical Child of Fortune: Sigismund Thalberg

Music in Haunts of the Dragon

How Ought We to Practice?

Hindrances to Artistic Piano Playing and How to Overcome Them

Radio: A New Field for the Young Musician

Missed Lessons

Putting Old Etudes to Work

Structure of Music: How We Get the Minor Scale

Instrumentalist's Wardrobe (interview with Yolanda Mero)

Keyboard Aristocrats of Earlier Days: A Description of Two Unique Harpsichords of the Eighteenth Century

How One …

Volume 50, Number 11 (November 1932), James Francis Cooke

The Etude Magazine: 1883-1957

Master Lesson on the Carnaval, Op. 9, by Robert Schumann

Difficult Rhythms Made Easy

Ideal Piano Hand

Concentrated Technic for High School Piano Students

Saint-Saëns, the Remarkable

Home Missionary

Responsibility

Elephants, Trees and Piano Keys

Structure of Music: How We Get the Chords, and How They Intermingle

Sphere of the Conductor (interview with Henry Hadley)

Have We Lost Something Through Over-Relaxation in Piano Study? A Discussion in Practical Piano Teaching

Haydn and His Birthplace

Pianists, Be Ambidextrous

Value of Our School Band and Orchestra (Contest)

Keeping Very Little Pupils Amused

Practical Use of Suggestions

Teaching Hints

Patriotic Costume Recital

Volume 45, Number 01 (January 1927), James Francis Cooke

The Etude Magazine: 1883-1957

Music and the State (Editorial)

Giving Vitality to the Phrase: Showing How Better Accenting Makes Better Playing

Musical Biographical Catechism: Tiny Life Stories of Great Masters

Why Count?

Practical Acoustics for Musicians

Eight Ways for Making One's Playing Musicianly

More I Practice, the Worse I Get

Russian Amateurs

Conservation of Energy in Music Readin

Robert Schumann

New Picture of Edward MacDowell

Another Way to Teach Harmony

Good Music—Bad Piano

Breath Marks

Mental Aids to Memorizing

Put On the Brakes

High Calling of the Teacher

Playing Accompaniments

Useful Test

How Music Theory Helps Music Lovers

Counting Aloud

Baffling Difficulty

What Assignments …

Volume 43, Number 08 (August 1925), James Francis Cooke

The Etude Magazine: 1883-1957

Modern Ideas in Pianoforte Technic (interview with E. Robert Schmitz)

Developing a Sense of Rhythm

What Schubert Thought About

There is Music in the Air

Mirth and Music: A Midsummer Page of Merriment and Wit of the Famous Musicians, Taken from the Recent Highly Entertaining Book, Musical Laughs

Reading Music by Groups

Your Musical Memory—How to Enlarge It

Carmen's Half Century

Schubert's Daily Round

Virtuosity Versus Musicianship

Motives

Naming the Note Family

Systematic Practice Plan

Mastering Forearm Movements

John Brown, of John Brown's Body

Mean and Cranky

How to Select a Teacher

American Renaissance of Johann Sebastian Bach (interview with …

Volume 42, Number 09 (September 1924), James Francis Cooke

The Etude Magazine: 1883-1957

Schumann—The Master of Child Music: Why Schumann's Muisc Has Had Such a Great Influence on the Education of the Young

Small-Hands Pupil

Making Practice Pleasant

What Touch Shall I Use in Phrasing? A Much-Needed Discussion of an Everyday Musical Problem

Helpful Hints on Practicing

Velvet Tone

Runaway Warhorses

Turning Music Noiselessly

What Effect is Jazz Likely to Have Upon the Music of the Future? (interview with Percy Grainger)

Why Chopin Used a Metronome

Sharps and Flats for Little Ones

Sight-Reading Without a Teacher

Will You Pay the Price

Teach Coöperation by the Use of Two Pianos

Carrots for a Donkey …

Volume 42, Number 05 (May 1924), James Francis Cooke

The Etude Magazine: 1883-1957

Souvenirs of Famous Musicians

Music Student, Prepare to Teach

Maxims for the Music Teacher

Simplifying Accidentals

Better Way to Count

Pointers for Teaching the Bass Notes

Build Well

What is the Purpose of Music? What is the Influence of the Tonal Art on Mankind?

Forcing Habit

Effective Method in Teaching

Memory Work and Public Performance

Table for Correct Fingering of Common-Chord Arpeggios

Walking Time

What to Teach at the Very First Lessons

Handel Shrine

Three Ways for Practicing the Scale

Sidelights of Human Nature

Teach First the Effect—The Method Afterward

Virtuoso Pianists and Virtuoso Conductors

To the Earnest Pupil

Quick …

Volume 42, Number 04 (April 1924), James Francis Cooke

The Etude Magazine: 1883-1957

If Franz Liszt Should Come Back Again (interview with Moritz Rosenthal)

Stiff Thumb

Use of Damper Pedal for Young Pianists

Scales for the Little Ones

Distinctive Traits of Great Masters

How a Great French Poet Inspired a German Genius: Wagner's Letter from the Poet Baudelaire

Mastering a New Piece of Music

How Much Technic

In Tune with the Laws of Sound—Voices are Born and Then Made

Fun in Music

Who Wrote Amaryllis?

When Should Pupils Discontinue Music Lessons

Common Musical Sense

Motet That Stopped Storms

What to Teach at the Very First Lessons

Some Don'ts for the Teacher

Idealism in …

Volume 38, Number 02 (February 1920), James Francis Cooke

The Etude Magazine: 1883-1957

Notable Group of American Musical Educators

Etudes of Chopin and How They Ought to be Practiced

Multiple Rhythm

Indispensables in Pianistic Success

Some Errors and How I Corrected Them

What is Shape in Music

All Sorts and Conditions of Pupils

Is Playing by Ear Harmful? Play What You See, See What You Play; Play What you Hear, Hear What You Play; See What You Hear, Hear What You See

Key Relationship and Key Signatures

Hearing Wrong Fingering

Secrets of the Success of Great Musicians

High-Grade Concerts in a Small Town

Gather Memories! The True Story of a Musician Who Did …

Volume 31, Number 06 (June 1913), James Francis Cooke

The Etude Magazine: 1883-1957

Plan of Scale Practice

Solving the Missed Lesson Problem: A Symposium Upon a Matter of Vital Importance to All Music Teachers

Importance of the First Impression

How I Made My Summer Vacation Profitable: A Timely Symposium from Busy Representative Teachers

Tolstoy's Great Love for Music

Are Great Pianists Always Nervous?

Making the Pupils' Recital Attractive: A New Idea for Progressive Music Workers

New Idea in Teaching the Touch

Instruments of the Orchestra

Balfe's Musicianship

How to Secure a Beautiful Tone at the Keyboard

Temperamental Playing

Developing an Instinctive Sense of Tone

Wisdom of Robert Schumann

Ten Working Rules

Old-Time Advances …

Volume 31, Number 05 (May 1913), James Francis Cooke

The Etude Magazine: 1883-1957

Recollections of Famous Musicians

Counting Habit

Practical Hints to Pupils

Great Operatic Romances Adapted for the Piano

How Chopin's Funeral March Was Written

Plagiarism in Music

Important Secret of Touch

How Diabelli Curbed Beethoven

Story of the Orchestra Instruments told for the General Music Lover

Pianist's Part in Ensemble Playing

Teacher's Attitude for Success

Natural Progressive Methods with Beginners

Character of Beethoven's Music

Secrets of Artistic Phrasing

Where the Dictionary Helps

Striking Modern Ideas on Music as a Curative Force

Etude Master Study Page—The Real Schumann

What Does it Mean to Practice

In Dr. Harmony's Doorway

Mark Hambourg on the …

Volume 28, Number 06 (June 1910), James Francis Cooke

The Etude Magazine: 1883-1957

Spirit of Life in Music—Rhythm

Real Musical Interest in the Czerny Studies

Pianist and the Tuner

Balfe's Opera The Bohemian Girl

Famous German Conservatories: The Conservatories of Southern Germany

Analysis of Teaching Material: The Rondo Form

Some Sign-Posts on the Road to Success in Music Study

What is Expected of the Student in the German Music School

History and Uses of the Metronome

Finger-Habit in Memorizing

Volume 25, Number 07 (July 1907), Winton J. Baltzell

The Etude Magazine: 1883-1957

From Schumann's Workshop

How to Read Music

Beethoven's Fondness for Out-of-Door Life

Hint for the Sight Reader

Success and Failure in Music: A Symposium

Anton Rubinstein in His Classes

Grading Music for Teaching Purposes

Young Pupil and Elementary Musical Theory

Teaching Material for Children

Beethoven's Personal Appearance

Notes on the Study of Scales

Arthur Foote

Environment a Factor in Teaching

World's Greatest Pianists

Emotional Appeal in Instrumental Music

Paderewski's Minuet in G

Study of Program Music

Volume 25, Number 03 (March 1907), Winton J. Baltzell

The Etude Magazine: 1883-1957

Easter at St. Peter's, Rome

Notes for the History Teacher

Pioneers in Music

Keyboard and the Hand

Incident of Schumann's Last Days

Hints for the Duet-Player

Rhythm and Meter in Music

Nature's Symphony: An Incident of Beethoven's Youth

Songs without Words

Sigismond Thalberg

Volume 18, Number 01 (January 1900), Winton J. Baltzell

The Etude Magazine: 1883-1957

What is Classical Music?

Parable

Parental Indulgence

Schumann's Early Loves

Originality in Teaching

Schumann: A Vanishing Star

Tone

Teaching Tonality

True Story: A Tale of a Music Student

Last Work

Studio Comfort

What is the Scale of this Passage?: Practical Hints for a Prompt Reply to this Common and Often Perplexing Questions

Musical Impurity

Methods

Relation of the Music Department to the College

Musical Heredity

Indiscriminate Advice and Its Evils

Anitra's Dance

Teacher of Music: His Character and His Training (A Symposium)

Russian School of Music

Illustration in Teaching: Some Practice Examples

Pieces, Exercises or Etudes—Which?

Dignity of our Profession …

Volume 17, Number 12 (December 1899), Winton J. Baltzell

The Etude Magazine: 1883-1957

Too Much Talent

Social Element in Success

Penalty of Genius

Narrow and Broad Pianoforte Instruction

Odds and Ends; or, Ideas on Many Subjects

Fallacious Notions

Teacher-Student

Musician's Life-Work

Study the Life of Schumann

Robert Schumann as a Composer for the Piano

Robert Schumann, Biographical

Piano Works of Robert Schumann

Point of Utility

Autobiographic Character of Schumann's Music

Side Lights on Schumann

Some Side Lights on the Making of a Musician

Songs of Schumann

Technical Demands of Schumann's Music

Schumann—The Man

Christmas Story

Successful Teacher

To the Girls Who Read The Etude

Education of Musicians

Do You Expect a Testimonial?

Clara …

Volume 13, Number 04 (April 1895), Theodore Presser

The Etude Magazine: 1883-1957

New Note on the Piano

Reminiscence of Bülow

What Shall I Play?

Make Study Interesting

Value of an Artist's Testimonials

Fantasy

Practical Talk with Girls

Material for Music Classes

To Acquire Expression

Present Worth

Duties of Music Teacher, Pupil and Parent Toward Each Other

Wit, Wise and Otherwise

How to Teach Schumann to Children

Amateur Musical Society

What is Classical Music?

Music and Money

To Play or Not to Play: Musical Education that Would Make Study a Pleasure to Children

Fingers and Finger-Rings

Basis of Phrasing

Rhapsody

Volume 09, Number 12 (December 1891), Theodore Presser

The Etude Magazine: 1883-1957

Types in the Concert Room

Corrections in Touch and Technic, Part II. Scales

Classic Music

Musical Sociables

Jottings from a Teacher's Mental Note Book

Music in Its Relation to Intellectual Life

Music in Boarding-Schools

Genius and Labor

Theory of Music Explained for Piano-Forte Players, Part 2

No Talent

How Parents Can Help Piano Teachers

Selecting According to Capabilities

Training of Music Teachers

Playing By Ear

Music Lessons from the Pupils' Standpoint

Scherzos

How to Learn a Piece

Good Music Needs Study

How to Command Success

Habit of Accuracy a Necessity

Don'ts

About the Less-Talented Pupils

How to Study Bach

Misapprehension …

Volume 06, Number 10 (October 1888), Theodore Presser

The Etude Magazine: 1883-1957

How to Listen to Music

Musical Punctuation

Raif's Method

Incident

Songs Without Words

Fourth Finger Operation

Harmony as a Study

Grand Social

Art of Studying

Philosopher's Opinion of Music

Practical Letters to Teachers

Knowledge of the Relation of Physiology and Anatomy to Piano Playing

Advice to Nervous Pianists

Sight-Reading

Franz Liszt's Mother

Volume 04, Number 10 (October 1886), Theodore Presser

The Etude Magazine: 1883-1957

Dangers of the Romantic Ideal

How to Use the Pedal

Common Sense of Interpreting Music

How to Study Arpeggios

Talk about Pianists

Weber's Concert-Stueck

Bach's Lighter Compositions

Nature of Harmony

Some of the Ways of the Incompetent

To the Piano-Forte

My Morning's Work

Study of Musical History

Liszt and His Pupils

Simplicity of Technique

Remarks on the Grace Note

Letter of Condolence to Mme. Richard Wagner

Legato in Piano Playing