슈만의 「크라이슬래리아나」 Op.16에서의 순환적 형식 구조에 관한 연구 = Principles of Formal Organization in R. Schumann's Kreisleriana, Op. 16

다국어 초록 (Multilingual Abstract)

Robert Schumann composed nearly all of his significant piano works in the decade from approximately 1829 to 1839. The majority of these exemplify traditional formal types, including three sonatas, three sets of variations, two sets of etudes, several independent pieces, and a number of collection of pieces. However, several of Schumann’s most well-known works from this period, the so-called "piano cycles," have no real precedent among works by earlier composers.
In researching the literature on cycles, I have found no detailed analytic approaches focusing on Schumann’s formal organization in his cycles. Music historians and theorists often dismiss the importance of formal consideration in Schumann’s cycles and postulate that Schumann instinctively juxtaposed individual pieces to form a collection without much coherent organization. I, however, suggest that Schumann's cycles result from preconceived plans that govern overall tonal structure and control the formation of details, relating them to a larger context. I also suggest that Schumann's piano cycles can be divided into three types:
1. Works such as Camaual, Op. 9, in which many brief pieces are linked by a large-scale coherent key scheme, recurring motives, and referential tonalities.
2. Compositions like Kreisleriana, Op. 16, in which the individual movements are lengthier than in those of the first type, and for the most part display conventional forms. This type of cycle consists of fewer movements, and often suggests a conventional multi-movement arrangement such as might be found in a sonata.
3. The third type contains only three works: the Arabeske, Blumenstuck, and Humoreske. This third type is a hybrid of the first and second types; there are fewer numbers of movements, as in type 2; but these movements are relatively shorter, as in type 1. The third type, furthermore, has other special features; these cycles are thematically unified throughout and in some respects suggest a long single movement with well-defined sections (for example, a Rondo).
With these two suggestions, the third part of my study investigates how unity is supported on multiple levels in Schumann’s Kreisleriana. My methodology involves the following procedures:
1. Aspects of harmonic features: Important harmonic events and keys of upcoming movements are prepared and anticipated in preceding movements. And the presence of many harmonically open structures facilitates the establishment of strong local connections between sections and movement of Kreisleriana.
2. Principles of formal design including the relationships between the form of individual movements and the cyclic role within cycle.