Schumann

Contents

• Sources and Critical Contexts
• Finson, Jon. "The Sketches for the Fourth Movement of Schumann's Second Symphony, Op. 61." Journal of the American Musicological Society 39/1 (1986): 143- 168.
• Synofzik, Thomas. "Ein Ruckert-Kanon als Keimzelle zu Schumanns Klavierkonzert Op. 54." Die Musikforschung 58/1 (2005): 28- 32.
• Appel, Bernhard. "Schumanns Davidsbund. Geistes- und sozialgeschichtliche Voraussetzungen einer romantischen Idee." Archiv fur Musikwissenschaft 38/1 (1981): 1- 23.
• Daverio, John. "Schumann: Cryptographer or Pictographer?" In John Daverio, Crossing Paths: Schubert, Schumann, and Brahms. Oxford et al: Oxford University Press, 2002. Pp. 65- 102.
• Kok, Roe-Min. "Falling Asleep: Schumann, Lessing and Death in a Wunderhorn Lullaby." Special issue Verwandlungsmusik: UEber komponierte Transfigurationen. Ed. Andreas Dorschel. Studien zur Wertungsforschung 48 (2007): 236- 72.
• Lippman, Edward A. "Theory and Practice in Schumann's Aesthetics." Journal of the American Musicological Society 17/3 (1964): 310- 345.
• Muxfeldt, Kristina. "Frauenliebe und Leben Now and Then." 19th-Century Music 25/ 1 (2001): 27- 48.
• Music Criticism, Literary Influences
• Plantinga, Leon B. "Schumann's View of 'Romantic'." Musical Quarterly 75/4, Anniversary Issue: Highlights from the First 75 Years (Winter 1991): 176- 187. (Originally published in 1966)
• Thym, Jurgen. "Schumann in Brendel's Neue Zeitschrift fur Musik from 1845 to 1856." In Mendelssohn and Schumann: Essays on their Music and its Context. Ed. Jon W. Finson and R. Larry Todd. Durham, North Carolina: Duke University Press, 1984. Pp. 21-36 and
• Nauhaus, Gerd. "Ruckkehr zum Wort: Schumanns spate literarische Arbeiten." In Der spate Schumann. Musik-Konzepte Neue Folge Sonderband. Ed. Ulrich Tadday. Munich: Richard Boorberg, 2006. Pp. 201- 212.
• Deahl, Lora. "Robert Schumann's Kreisleriana and Double Novel Structure." International Journal of Musicology 5 (1996): 131- 145.
• Jensen, Eric Frederick. "Explicating Jean Paul: Robert Schumann's Program for 'Papillons,' Op. 2." 19th-Century Music 22/2 (1998): 127- 143.
• Hindenlang, Karen A. "Eichendorff's Auf einer Burg and Schumann's Liederkreis, Opus 39." Journal of Musicology 8/4 (1990): 569- 587.
• Performance, Biography, Reception History
• Macdonald, Claudia. "Schumann's Earliest Compositions and Performances." Journal of Musicological Research 7/ 2-3 (1987): 259- 283.
• Hallmark, Rufus. "The Ruckert Lieder of Robert and Clara Schumann." 19th-Century Music 14/1 (1990): 3- 30.
• Wendt, Matthias. "Tempora mutantur oder Wie viele Metronome besass Robert Schumann eigentlich?" Schumann-Studien 10 (2012): 217- 240.
• Burton, Anna M. "Robert Schumann and Clara Wieck: A Creative Partnership." Music & Letters 69/2 (1988): 211- 228.
• Tunbridge, Laura. "Schumann as Manfred." The Musical Quarterly 87/3 (2004): 546- 569.
• Analytical Approaches
• Roesner, Linda Correll. "Schumann's 'Parallel' Forms." 19th-Century Music XIV/3 (1991): 265- 278.
• Lester, Joel. "Robert Schumann and Sonata Forms." 19th-Century Music 18/3 (1995): 189- 210.
• Kaminsky, Peter. "Principles of Formal Structure in Schumann's Early Piano Cycles." Music Theory Spectrum 11/2 (1989): 207- 225.
• Newcomb, Anthony. "Once More 'Between Absolute and Program Music': Schumann's Second Symphony." 19th-Century Music 7/3 (1984): 233- 250.
• Tovey, Donald F. " 13. Quintet in E flat Major, op. 44, for Pianoforte, Two Violins, Viola, and Violoncello (1900)." In Donald F. Tovey, Essays in Musical Analysis: Chamber Music. London: Oxford University Press, 1944. Pp. 149- 154.
• Krebs, Harald. "Robert Schumann's Metrical Revisions." Music Theory Spectrum 19/1 (1997): 35- 54.