"A higher echo of the past" [electronic resource] : Schumann's 1842 chamber music and the rethinking of classical form (Robert Schumann, Germany) / Julie Ann Hedges Brown

Brown, Julie Ann Hedges
Bib ID
vtls000568478
稽核項
301 p.
電子版
附註項
數位化論文典藏聯盟
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$a Source: Dissertation Abstracts International, Volume: 61-05, Section: A, page: 1669.
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$a Director:  Robert P. Morgan.
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$a Thesis (Ph.D.)--Yale University, 2000.
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$a Schumann's music of the early 1840s reveals a new orientation for the composer: instead of piano miniatures characterized by literary-poetic associations (the focus of the preceding decade), Schumann now concentrated on instrumental music, writing in the forms and mediums canonized by Mozart, Haydn, and Beethoven. For both nineteenth- and twentieth-century critics, this music revealed an &ldquo;objective,&rdquo; traditionalist bent. This study shows that&mdash;although a conservative impulse underlay their composition&mdash;the 1842 chamber works portray an innovative approach to form, with many movements recasting, even subverting, classical paradigms and tonal procedures in ways hitherto unnoticed. Situating these innovations, the dissertation shows how these works develop experimental traits of Schumann's earlier music (including interruptive gestures, beginning <italic> in medias res</italic>, strategies of competing tonics, and &ldquo;parallel forms&rdquo;). Thus, the study reevaluates the stylistic divide that many critics see between Schumann's so-called &ldquo;romantic&rdquo; works of the 1830s and the more traditional music of the 1840s. The dissertation also considers formal connections with the music of Schumann's predecessors, especially Beethoven and Schubert.
520
$a Chapter 1 provides work histories of the main 1842 chamber pieces (the op. 41 string quartets, the op. 44 piano quintet, and the op. 47 piano quartet), then considers factors prompting the turn toward instrumental music in the early 1840s; the chapter concludes by tracing a brief reception history of the 1842 chamber music and of Schumann's large-scale works in general. Chapter 2 examines three &ldquo;parallel-form&rdquo; finales that extend either sonata form (op. 47) or rondo form (opp. 41/3 and 44) in ways that generate a large bipartite structure. The analyses show how Schumann reinterprets various tonal conventions to motivate these parallel structures. Chapter 3 explores three movements that recast the tonal argument of sonata form in two complementary ways: either by having the tonic key monopolize the exposition (op. 47, i) or by not establishing the tonic strongly enough to provide a stable point of departure (opp. 41/3, i and 41/1, iv). Both approaches thwart tonal &ldquo;polarity&rdquo; and ultimately alter the functional role of the recapitulation.
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摘要
Schumann's music of the early 1840s reveals a new orientation for the composer: instead of piano miniatures characterized by literary-poetic associations (the focus of the preceding decade), Schumann now concentrated on instrumental music, writing in the forms and mediums canonized by Mozart, Haydn, and Beethoven. For both nineteenth- and twentieth-century critics, this music revealed an &ldquo;objective,&rdquo; traditionalist bent. This study shows that&mdash;although a conservative impulse underlay their composition&mdash;the 1842 chamber works portray an innovative approach to form, with many movements recasting, even subverting, classical paradigms and tonal procedures in ways hitherto unnoticed. Situating these innovations, the dissertation shows how these works develop experimental traits of Schumann's earlier music (including interruptive gestures, beginning <italic> in medias res</italic>, strategies of competing tonics, and &ldquo;parallel forms&rdquo;). Thus, the study reevaluates the stylistic divide that many critics see between Schumann's so-called &ldquo;romantic&rdquo; works of the 1830s and the more traditional music of the 1840s. The dissertation also considers formal connections with the music of Schumann's predecessors, especially Beethoven and Schubert.
Chapter 1 provides work histories of the main 1842 chamber pieces (the op. 41 string quartets, the op. 44 piano quintet, and the op. 47 piano quartet), then considers factors prompting the turn toward instrumental music in the early 1840s; the chapter concludes by tracing a brief reception history of the 1842 chamber music and of Schumann's large-scale works in general. Chapter 2 examines three &ldquo;parallel-form&rdquo; finales that extend either sonata form (op. 47) or rondo form (opp. 41/3 and 44) in ways that generate a large bipartite structure. The analyses show how Schumann reinterprets various tonal conventions to motivate these parallel structures. Chapter 3 explores three movements that recast the tonal argument of sonata form in two complementary ways: either by having the tonic key monopolize the exposition (op. 47, i) or by not establishing the tonic strongly enough to provide a stable point of departure (opp. 41/3, i and 41/1, iv). Both approaches thwart tonal &ldquo;polarity&rdquo; and ultimately alter the functional role of the recapitulation.
附註
Source: Dissertation Abstracts International, Volume: 61-05, Section: A, page: 1669.
Director: Robert P. Morgan.
Thesis (Ph.D.)--Yale University, 2000.
數位化論文典藏聯盟
合著者
ISBN/ISSN
0599791047