R. Schumann의 Kreisleriana Op.16에 대한 연구

김주미 이화여자대학교 대학원 1996 국내석사

R. Schumann의 連歌曲 Frauen Liebe und Leben에 對한 小考 : 作品의 背景과 樂曲構成을 中心으로

최재면 청주대학교 대학원 1978 국내석사

Schumann (1810-1856) Schubert, though his music is Romantic in its lyrical quality and harmonic color, nevertheless always maintained a certain classical serenity and poise. With Schumann we are in the full restless tide of Romanticism. His first collection of songs appeared in 1840, all his previously piblished works having been for piano. Schumann's; the accompaniments, however, are of unusual interest. Indeed, many of Schumann's lieder are really duets for voice and piano. Schumann created no intrinsically new forms. Non can it be said that his works had a strong influence on any composer other than Brahms. Many of his works bear descriptive titles; but the implications of these indications are more fanciful than specific and in the most instance they are, as he himself has admitted nothing more than delicate directions for performance and understanding added to the music after it had been created, and designed to indicated to both player and listener the composer's poetic intent. Some of the finest of Schumann's lieder are the love songs. In Schumann, more strongly than in almost any other composer, we find the stimulus of some particluar interest affecting his composition during a period of years. His first twenty-three compositions were all for the piano. In 1840 he married Clara Wieck and, in that year alone, he composed more than one hundred art songs including the song cycle, Woman's Love and Life. This was to be a wedding gift for Clara, who was one of the great concert-pianists of the nineteenth century. No actual story links the eight songs of the cycle, but it depicts the happiness of a maiden who, in the first song: (1) loves from afar; (2) dreams about her yong man; (3) gets a ring. The cycle continues (4) "help me my sisters to become a beautiful brid"; (5) the wedding; (6) a child is born and all is joy; (7) "here on my breast lies my treare"; and (8) new for the first time he has made megrieve. She goes on to say her husband is wrapped in the sleep of death. As the song ceases, the piano plays a quiet little epilogue that each listener may interpret as his own. In this works the Romantic genius of Schumann appears to perfection.

로베르트 슈만(Robert Schumann)의 <피아노 소나타 op.22 g단조> 분석 연구

나아심 수원대학교 2023 국내박사

Schumann's music has both the rigor of German music and the freedom and lyricism of Romantic music, with a unique musical style and characteristics. Schumann is a composer who loves innovation, but he also has the traditional rules that he recognizes and sticks to. His love for literature makes his works have extremely high literary and ideological connotations. "Piano Sonata in G Minor Op.22" is the most famous one among the three sonatas by Schumann. In order to play Schumann's works well, first of all, it is necessary to understand Schumann's creative characteristics. This dissertation will discuss Schumann's creative characteristics from three different angles: tradition and innovation, title and literature, thought and emotion, and analyze the influence of these factors on the formation of Schumann's music style. Through in-depth research on it, we can discover the music aesthetics and artistic charm, and better understand the meaning and value of music. Secondly, whether in form, harmony, melody or rhythm, this work is full of Schumann's musical characteristics, rigorous but revealing romance. In terms of form, the overall movement form of this work is created in accordance with the requirements of classical sonatas, including the design of the four movements' form, tonality composition, tempo and beat. In terms of harmony, Schumann likes to use colorful chords such as secondary dominant and Neapolitan chord. The harmony is complex and varied. In terms of melody, he used a variety of melody creation methods such as citing themes and imitating. In terms of rhythm, Schumann frequently combines various complicated rhythms such as syncopated sound effects and dotted rhythm, forming rich effects and emotions. Thirdly, for the performance technique part of the work, this dissertation focuses on the analysis from the three aspects of tempo processing, pedal application and touch key control. This work has strict and varied requirements for tempo, and tempo is undoubtedly the primary difficulty in performance. Aiming at this work, this thesis gives two different performance suggestions for the faster and slower tempo, and puts forward my own views on the choice of tempo. This article summarizes two types of pedal playing, one is divided by the time of stepping on the pedal or the time of playing the keyboard, and the other is divided by the depth of stepping on the pedal. And combined these two kinds of pedals with this work for a specific analysis. The touch controls in piano playing is also a relatively difficult performance technique in piano performance, which will directly affect the timbre, volume and quality of performance. The musical content of this work is complex and varied, so the touch controls in piano playing is very important. Combining the four touch methods of Finger Touch, Hand Touch, Arm-Weight Touch and Full-Arm Touch mentioned by Clarence G. Hamilton in "Touch and Expression in Piano Playing", the article analyzes the piano sonata in g minor op. 22》A touch key analysis was carried out. Finally, in terms of teaching, it mainly discusses the training of piano performance skills, the grasp of music style and the guidance of imagination, so as to enrich the research on piano teaching and provide some useful guidance and research directions for piano performance and teaching . As one of the most outstanding composers in the romantic music period, Robert Schumann has distinctive features in his creation, diverse musical styles and unique insights. His works are famous for their rich emotions, personal expressions and thoughts. As one of his masterpieces, Piano Sonata in G Minor Op.22 shows Schumann's musical style, musical characteristics and thoughts in the early stage of creation. Doing research helps to master Schumann's musical style and better study Romantic music.

Robert Schumann作品과 音樂觀

백삼열 漢陽大學校 1983 국내석사

R. Schumann의 連歌曲 Dichter Liebe에 대한 小考 : 작품의 배경과 악곡구성을 중심으로

신현철 淸州大學校 大學院 1982 국내석사

R.Schumann (1810-1956) is a German Composer and critic who represent the romantic music with F. Liszt (1811-1866), F. Chopin (1810-1849), J. Brahms (1833-1897), F. Schubert (1797-1828) He we can say, is the spiritual center of the romantic movement, having the higher culture and the excellent poetic gift, he is the composer established the romantic program music. In many ways he represented the typical romantic omposer with the self representation, the strong temper of lyric poem style, and the emphasis on his concern about other fields except music His contribution has the expecial importance in the piano music and the lieder. In his lieders the psychological inter pretantion for the poem appear on melody, and also takes the great role for the piano accompaniment poet. He thinks the piano accompaniment and the melody are very important. And so, he tried to express the piano accompaniment and the melody syntehtic Schumann, as the German romantic leader, he started as a pianist at first but later turned to a composer because he had been damaged his finger by excessive piano practice Schumann's song cycle, Dichter Liebe, was compose in 1940 when his activity come to maturing period, and this song was the famous one which made him as the poet of sound. This collection of compositions came from 16 poems in Heine's poetical works "lyric intermezo" and this is the masterpiece which can be called as the crystal mixed well the sorrowful affection sung by Heine and the emotion between Schumann and Clara. Schumann, the first successor of Schubert, has a character that his melody is warm and expressive, though there is no attract sprung out naturally as Schubert. In his early composition for poems he was more severe than other composers and expecially more severe than other composers and especially more severe when he composed the repited compositions. He was successful especially when he composed Heine's poems. The brevity of Heine's poems is in harmony with the composer each other, and sometimes arosed a peculiar music effect as all the works in dichter Liebe. Schumann's music gives no pause to breathe because it has wide and stable range, and shows the special of his intersive character with this the interesting balance between vioce and piano music continues completely and overwhelms the music fun of the last part of songs. His harmony is very characteristic. He didn't use the vertical expression of a chromatic scale, but he is fond of charging to sonorous original key with rapid change for melody. We can say the diatonic scale cacophony and sequence is the result the was fond of Bach's music. His lieder is the free style one which gets out of the complete form. He created the art combining his romantic music with poems. Another character of his is accompaniment. The pianistic fact which never been used began to use on his piano accompaniment. As the double harmony which does not insist its funaction strongly is not like Beethoven, the harmony does not force us to feel the logical appression, Schumann's lieder had an effect on French lieder and especially, Faure was influenced much by him. His songs intend to show the limitation of sensitivity. Other words, Schumann's lieders have the considerable change of emotion. He had a wide range effect upon France and Russia as well as German, though his lieder had the strong Germanic character. He knew for himself that the had contradictory both sides in his character Therefore, there are some problems that the music accustomed to only himself does not deliver directly to andience, owing to the difference between the viclent emotion side of Florestar and the meditative side of Eusebius But in his master piece, the differences of these contradictory music attain the highest harmonious perfection.

R. Schumann의 후기 피아노 작품에서 나타나는 음악적 특징 연구 : -<세 개의 환상 소품집 Op. 111>, <새벽의 노래 Op. 133>을 중심으로

강대현 영남대학교 대학원 2017 국내박사

본 논문은 로버트 슈만(Robert Schumann,1810-1856)의 후기 피아노 작품에 나타난 음악적 특징을 살펴보기 위하여 《세 개의 환상소품집》 (Drei Fantasiestücke Op. 111, 1851)과 《새벽의 노래》 (Gesänge der Frühe Op. 133, 1853)의 두 작품을 분석한 연구이다. 대체적으로 슈만의 후기 작품들은 말년에 심하게 발병했던 정신질환의 이유로 작품들의 질적인 가치가 떨어지는 것으로 평가되어 왔다. 《새벽의 노래》의 경우에는 국내에는 그 연구를 찾아볼 수 없고 국외에서는 상충하는 가치평가를 받아 왔다. 하지만 1980년대 이후, 과거 평가 절하의 비판을 받은 슈만의 후기 작품들은 새로운 관점의 논문과 비평, 전기를 통해 재평가되고 있다. 이와 같은 새로운 관점으로 슈만의 후기 작품들을 살펴보면 특유의 낭만적 정취와 독창적인 음악 스타일을 발견할 수 있다. 특히 마지막 피아노 작품 《새벽의 노래》는 대위법의 일부 특징을 바탕으로 문학작품에서 가져온 알파벳 음들이 신비로운 분위기 속에서 통일감 있게 사용된다. 이로 인해 이 작품은 슈만의 말기 피아노 작품에 나타난 다양한 음악 어법을 이해할 수 있는 중요한 작품이라고 판단된다. 이상과 같은 고찰을 바탕으로 본문의 서론에서는 슈만의 후기 작품에 대한 다양한 평가가 어떻게 이루어져 왔는지 살펴보았다. 이어서 본론에서는 그의 피아노 작품에 나타나는 일반적인 특징들을 살펴본 다음, 이에 근거하여 《세 개의 환상소품집》과 《새벽의 노래》를 분석한 후 발견되는 음악적 특징에 대해서 논하였다. 마지막으로 결론에서는 두 작품이 가진 가치에 대한 필자의 견해를 제시하였다. 본 논문을 통해서 후기 슈만의 음악 세계를 이해하는 데 도움이 되길 바라며, 필자의 작은 노력을 발판으로 슈만의 후기 피아노 작품에 대한 지속적인 연구가 이어지기를 바란다. D.M.A. Dissertation A study of the musical features in R. Schumann's late piano works -Focused on <Three Fantasy Pieces>, Op. 111 and <Songs of Dawn>, Op. 133- Dae Hyun Kang Department of Musicology Graduate School Yeungnam University D.M.A. (Doctor of Musical Arts) (Supervised by Professor Eun-Sook You) Abstract This study examines the musical characteristics of Robert Schumann's (1810-1856) late piano compositions. It analyses his two piano works, 《Three Fantasy Pieces》 (Drei Fantasiestücke, 1851), Op. 111 and 《Songs of Dawn》 (Gesänge der Frühe, 1853), Op. 133. In general, Schumann's late works have been regarded as of low quality because of his mental illness in his late years. There are no studies about 《Songs of Dawn》 in Korea, and the value of his work abroad was always been controversial. But since the 1980s, Schumann's late works, strongly criticized in the past, have been re-evaluated in a new light through studies, criticisms and biographies. With these new perspectives we can find distinctive romantic atmosphere and original musical styles in Schumann's late works. We can particularly see unique characteristics in his last piano work 《Songs of Dawn》. Schumann used some alphabetical notes from a literary work uniformly in mysterious atmosphere, which are based on some counterpoint feature. For this reason, we can see that 《Songs of Dawn》 is an important work for understanding various musical styles in Schumann’s late piano works. Based on the above consideration, in the introduction I examined how Schumann's late works were evaluated. In the main subject, first I evaluated the general features of his piano works. And then based on this evaluation, I considered the musical features I saw in these two works, 《Three Fantasy Pieces》 and 《Songs of Dawn》. Finally in the conclusion I presented my perspective on the value of these two works. I hope this thesis helps you to understand Schumann's late music compositions and I hope that my little effort leads you to continually study Schumann's late piano works.

R. Schumann의 "Fantasie" Op.17에 關한 小考

임주연 이화여자대학교 대학원 1996 국내석사

R. Schumann Davidsbundlertanze op.6에 관한 분석과 연주 기법

한경은 연세대학교 대학원 2001 국내석사

본 논문에서는 19세기 낭만주의 시대를 대표하는 작곡가 Schumann의 생애와 피아노 작품의 세계와 더불어 그의 작품 Davidsbu¨ndlerta¨nze op.6의 분석과 연주기법에 관하여 논하였다. Schumann은 음악 뿐 아니라 평론 분야에서도 크게 재능을 발휘하였고 그로 말미암아 그의 피아노 작품 역시 문학 작품에서 많은 영감을 받아 작곡하였다. Davidsbu¨ndlerta¨nze op.6은 총 18개의 character piece로 구성된 곡으로 Clara에 대한 Schumann의 사랑을 표현하였다. 각 곡들은 일정한 구심점을 가지고 유기적인 관계에 있으며 Florestan과 Eusebius 라는 두 개의 상반된 서명을 가지고 있다. 또한 그의 작품을 효과적으로 연주하기 위해서는 테크닉적인 연구 뿐 아니라 그의 작품에 흐르고 있는 사상이나 문학적 배경에 대해서도 충분한 이해가 필요하다. The German composer Schumann was a principal figure of the early romantic movement in 19th-century music. Schumann's piano works are largely musical expressions of literary themes and mood. His finest piano compositions consist of cycles of short pieces in which a single lyrical idea is brought to completion with in a small framework. One of the most archetypal of Romantic composer, Schumann characterized himself in two imaginary figures, the forceful Florestan and the poetic Eusebius, whose names he signed to his critical articles and whose musical portraits he drew in his piano suite - Davidsbu¨ndlerta¨nze op.6 Davidsbu¨ndlerta¨nze op.6 which contains Schumann's affection for Clara consist of 18 character pieces. The work is a representative of his work.

Robert Schumann의 'Liederkreis, Op.39'에 관한 분석 연구 : 음악과 시적 요소와의 비교분석

배미경 전남대학교 1995 국내석사

Schumann(1810∼1856)은 낭만주의 시대의 작곡가중 뛰어난 문학적 재능을 지닌 작곡가로서 1840년을 중심으로 많은 가곡을 작곡하였다. Schumann은 진보된 가곡을 썼으며 "Lied는 음악과 시의 결합이다"라는 말을 창조하기에 이르렀다. Schumann의 가곡은 시를 떠나서는 생각할 수 없을 만큼 시와 밀접한 관계를 가지고 있고, 시적 언어가 갖고 있는 강약, 시의 배경, 시의 이미지등 시가 지니고 있는 특성들이 사실적으로 그의 음악에 묘사되고 있다. 그러므로 시의 완전한 이해 없이는 Schumann의 가곡을 이해할 수 없을 뿐만 아니라 연주 또한 불가능한 것이다. Schumann은 "가곡의 왕"이라 불리우는 Schubert의 Lied의 전통을 한층 발전시켜 독일가곡에 있어 기존의 가곡보다 차원높은 많은 가곡들을 작곡 하였는데 특히 독일의 낭만주의 서정시인 J.V.Eichendorff의 6개의 시집에서 발췌한 12개의 자연시에 곡을 붙인 「Liederkrcis,of,39」는 시와 음악이 이상적으로 결합된 가치있는 작품으로 평가된다. 본 논문에서는 예술적으로 높이 평가 받고 있는 「Liederkreis,op.39」를 선택하여 이 작품의 음악적 배경이 되는 Lied의 역사, Schumann의 생애와 가곡, Schubert Lied와 Schumann Lied의 차이, "Liederkreis op.39"의 작품 배경에 대해 알아 보았으며, 본 곡이 독일의 시이고 예술가곡 자체가 시를 떠나서는 이해할 수 없기 때문에 기초적이나마 독일의 시적 구조에 대해 연구해 보았다. 또 Eichendorff의 시를 통해 독일시의 일반적 요소들을 Schumann은 어떻게 음악화 했는지 알아보았는데 특히 시의 기초구조를 이루는 요소가 Schumann의 음악에선 어떻게 다루어지는지 연구해 보았다. 아울러 대상작품을 통하여 Schumann의 화성처리의 특징을 살펴보았으며 시의 내용과 관련한 연주가로서의 연주방식과 표현방식을 연구하였다. 끝으로 이 연구를 통하여 예술가곡의 본질을 이해하게 되고 또 훌륭한 연주를 위한 방법을 모색하는데 도움이 되고자 한다. Robert Schumann(1810-1856) is a composer with excellent literary gift among the composers in the age of romanticism and published many songs around 1840. He composed many radical Lieds and he also said that Lied is a combination of music and poem. His Lied has a close connection with poem as it describes accent, background, image and characters of poetic language realistically. Thus we cannot understand his Lied nor play it without perfect understanding of the poem. He composed many love songs following in the tradition of Schubert, who is called 'The king of Lied', and especially 'Liederkreis op. 39' which was named by accepting 12 nature poems from 6 collections of poem of J.V.Eichendorff is evaluated that it is a valuable work that the poem is combined with music. This paper selects 'Liederkreis op. 39' which is highly appraised in aspects of art, and analyzes its musical background as explaining Lied history, life & Lied of Schumann, the difference of Schubert and Schumann and the background of 'Liederkreis op. 39'. In addition, it also has a profound comprehension about the structure of germany poem because this work, as a German poem itself, cannot be understood when it is separated from poem. And it is explained how Schumann musicalitied general poetic characters through Eichendorff's poem, and especially how elements of poetic basic form are treated in Schumann's works. Finally it is analyzing the harmony of this work and the playing and expressing way for players. Shortly, this study would be helpful to understand Lied essence and to play excellently.

R. Schumann Fantasy Pieces Op. 73의 작품분석

김구영 목원대학교 대학원 2001 국내석사

R.A. Schumann was a renowned composer of German Romanticism and he was a musician who showed the artistic ability in the musical and the literary aspect. He had the excellent literary attainments. The works of the poets of the day was composed lyrically by him. Fantasy Pieces Op.73 is made up of the various changes and repetitions. In the middle of the Schumann's cello works, this writings shows the characteristic, the strong individuality and the creative expression of the music of Romanticism. As a result of the study in his latter works, Fantasy Pieces for Cello and Piano Op.73, written in 1894, I can come to a conclusion as follows, This work, consisted of 3 movements, show the characteristics of Schumann's performance which represents the romantic feature - that is the latter romantic harmony technique with a frequent modulatio, a chromatic scale melody, a continuous borrowed chord, a extension of nonharmonic, a free modulation based on the classical forms. Because each movement are closely connected, it has the tendency of simple musical piece. So, each pieces don't play independently. In the formal aspect, this work is a ternary form, composed of 'A-B-A`-Coda'. As the movement proceeds, it shows a various change and it also can be as repetition of the same part. Each movement take the ternary form and make a compound ternary form on the while. This work was three closely correlated steps, which is called A-B-C, in melody. The subject was presented in the second one and in the third movement this work reached to the Climax. The piano is cooperative to the solo instrument and has the dual function. it complements each other to the solo instrument according to the interactive progress. phrasing makes me feel the fantastic and romantic melody as a ceaseless melody and it makes sure the feeling of fantasy. The change of rhythm and harmony occured in the second movement. The triple note, the agrements and the syncopation make the change of rhythm. In the harmonic aspect, a borrowed chord is used frequently and it adorns the theme. So, it makes me feel free. This work shows that Schumann is concerned about the new tendency of progressive music, in spite of his latter work. Schumanns is a composer of liberalism who isn't bound by traditional forms. But his work, Fantasy pieces for Cello & Piano op. 73, was expressed his unique romantic techniques on the basis of the typical forms of classicism. Therefore it was said that Schumann's creative technique had established in this work.