Subjective appropriation of musical form in Schumann’s Carnaval, op. 9
Autor(a) principal: | |
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Data de Publicação: | 2014 |
Outros Autores: | , |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.7559/citarj.v6i2.108 |
Resumo: | The aim of this article is to analyze musical form in german composer Robert Schumann’s works (8 June 1810 – 29 July 1856), particularly that of piano solo piece Carnaval, op. 9, trying to understand what is revealed by the way he uses it in relation to his personality, not only in artistic terms (taking into account the context of German Romanticism) but also on a deeper psychological level. To come to an understanding of Schumann’s use of form, this paper begins with a brief description of the evolution of musical form since Viennese Classicism, with additional references to the baroque system of ‘affects’. Form in Schumann is compared with that of other significant composers of the romantic period and various points of intersection between music and other arts are analyzed, especially literature, in certain key works of this period. Parting from these reflections, we explore the question of the expressive intention behind his handling of form in Carnaval, op. 9. The aim of the investigation of this aspect is to understand how far the innovatory use of this parameter in Schumann, reflects a unique vision of the art of music. |
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Subjective appropriation of musical form in Schumann’s Carnaval, op. 9The aim of this article is to analyze musical form in german composer Robert Schumann’s works (8 June 1810 – 29 July 1856), particularly that of piano solo piece Carnaval, op. 9, trying to understand what is revealed by the way he uses it in relation to his personality, not only in artistic terms (taking into account the context of German Romanticism) but also on a deeper psychological level. To come to an understanding of Schumann’s use of form, this paper begins with a brief description of the evolution of musical form since Viennese Classicism, with additional references to the baroque system of ‘affects’. Form in Schumann is compared with that of other significant composers of the romantic period and various points of intersection between music and other arts are analyzed, especially literature, in certain key works of this period. Parting from these reflections, we explore the question of the expressive intention behind his handling of form in Carnaval, op. 9. The aim of the investigation of this aspect is to understand how far the innovatory use of this parameter in Schumann, reflects a unique vision of the art of music.Universidade Católica Portuguesa2014-07-01T00:00:00Zjournal articleinfo:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://doi.org/10.7559/citarj.v6i2.108oai:ojs.revistas.ucp.pt:article/7222Journal of Science and Technology of the Arts; Vol 6 No 2 (2014); 7-14Journal of Science and Technology of the Arts; v. 6 n. 2 (2014); 7-142183-00881646-979810.34632/citarj.2014.6.2reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://revistas.ucp.pt/index.php/jsta/article/view/7222https://doi.org/10.7559/citarj.v6i2.108https://revistas.ucp.pt/index.php/jsta/article/view/7222/7172Copyright (c) 2014 Teresa Palma Pereira, Sofia Lourenço, Paulo Ferreirahttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessPereira, Teresa PalmaLourenço, SofiaFerreira-Lopes, Paulo2022-09-22T16:19:18ZPortal AgregadorONG |
dc.title.none.fl_str_mv |
Subjective appropriation of musical form in Schumann’s Carnaval, op. 9 |
title |
Subjective appropriation of musical form in Schumann’s Carnaval, op. 9 |
spellingShingle |
Subjective appropriation of musical form in Schumann’s Carnaval, op. 9 Pereira, Teresa Palma |
title_short |
Subjective appropriation of musical form in Schumann’s Carnaval, op. 9 |
title_full |
Subjective appropriation of musical form in Schumann’s Carnaval, op. 9 |
title_fullStr |
Subjective appropriation of musical form in Schumann’s Carnaval, op. 9 |
title_full_unstemmed |
Subjective appropriation of musical form in Schumann’s Carnaval, op. 9 |
title_sort |
Subjective appropriation of musical form in Schumann’s Carnaval, op. 9 |
author |
Pereira, Teresa Palma |
author_facet |
Pereira, Teresa Palma Lourenço, Sofia Ferreira-Lopes, Paulo |
author_role |
author |
author2 |
Lourenço, Sofia Ferreira-Lopes, Paulo |
author2_role |
author author |
dc.contributor.author.fl_str_mv |
Pereira, Teresa Palma Lourenço, Sofia Ferreira-Lopes, Paulo |
description |
The aim of this article is to analyze musical form in german composer Robert Schumann’s works (8 June 1810 – 29 July 1856), particularly that of piano solo piece Carnaval, op. 9, trying to understand what is revealed by the way he uses it in relation to his personality, not only in artistic terms (taking into account the context of German Romanticism) but also on a deeper psychological level. To come to an understanding of Schumann’s use of form, this paper begins with a brief description of the evolution of musical form since Viennese Classicism, with additional references to the baroque system of ‘affects’. Form in Schumann is compared with that of other significant composers of the romantic period and various points of intersection between music and other arts are analyzed, especially literature, in certain key works of this period. Parting from these reflections, we explore the question of the expressive intention behind his handling of form in Carnaval, op. 9. The aim of the investigation of this aspect is to understand how far the innovatory use of this parameter in Schumann, reflects a unique vision of the art of music. |
publishDate |
2014 |
dc.date.none.fl_str_mv |
2014-07-01T00:00:00Z |
dc.type.driver.fl_str_mv |
journal article info:eu-repo/semantics/article |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.7559/citarj.v6i2.108 oai:ojs.revistas.ucp.pt:article/7222 |
url |
https://doi.org/10.7559/citarj.v6i2.108 |
identifier_str_mv |
oai:ojs.revistas.ucp.pt:article/7222 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://revistas.ucp.pt/index.php/jsta/article/view/7222 https://doi.org/10.7559/citarj.v6i2.108 https://revistas.ucp.pt/index.php/jsta/article/view/7222/7172 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2014 Teresa Palma Pereira, Sofia Lourenço, Paulo Ferreira http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2014 Teresa Palma Pereira, Sofia Lourenço, Paulo Ferreira http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Católica Portuguesa |
publisher.none.fl_str_mv |
Universidade Católica Portuguesa |
dc.source.none.fl_str_mv |
Journal of Science and Technology of the Arts; Vol 6 No 2 (2014); 7-14 Journal of Science and Technology of the Arts; v. 6 n. 2 (2014); 7-14 2183-0088 1646-9798 10.34632/citarj.2014.6.2 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
institution |
RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
collection |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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1777301496146165760 |