로베르트 슈만의 『Frauenliebe und Leben』 Op.42과 클라라 슈만의 『Sechs Lieder』 Op.13의 비교 연구 : 각 두 곡을 중심으로 = A Comparative Study of Robert Schumann’s Frauenliebe und Leben Op.42 and Clara Schumann’s Sechs Lieder Op.13 - Focusing on Two Songs from Each Cycle -

다국어 초록 (Multilingual Abstract)

This study examines the poetic imagery, emotional development, musical structure, and piano accompaniment in selected songs by Robert Schumann and Clara Schumann through a comparative approach. The works analyzed in this study are Robert Schumann’s 〈Seit ich ihn gesehen〉 and 〈Du Ring an meinem Finger〉 from 『Frauenliebe und Leben』, Op.42, and Clara Schumann’s 〈Ich stand in dunklen Träumen〉 and 〈Der Mond kommt still gegangen〉 from 『Sechs Lieder』, Op.13.
The purpose of this study is to investigate how the two composers express love and inner emotion within the tradition of nineteenth-century German Romantic Lied, and how the relationship between voice and piano is organized in each work. Although the selected songs share the common foundation of Romantic German art song, they reveal different approaches in poetic imagery, emotional progression, repetition structure, and the role of piano accompaniment.
The textual analysis demonstrates clear differences in emotional direction and poetic imagery between the two composers. In Robert Schumann’s songs, emotional expression is centered on psychological immersion and the gradual inward development of love. In contrast, Clara Schumann’s songs emphasize memory, distance, silence, and restrained lyricism through reflective and atmospheric imagery. While Robert Schumann tends to present emotional certainty and inward concentration, Clara Schumann develops emotion through subtle distance and gradual emotional expansion.
The musical analysis further reveals differences in formal treatment and piano writing. Robert Schumann’s songs maintain relatively continuous melodic and accompanimental patterns, creating an integrated musical flow between voice and piano. Harmonic and registral changes occur gradually within repetitive structures, allowing emotional continuity to unfold without abrupt interruption. By contrast, Clara Schumann’s songs display clearer sectional contrasts through changes in texture, register, and harmonic density. In her works, the piano accompaniment functions not merely as support for the vocal line, but as an independent element shaping tension, atmosphere, and structural direction.
Through this comparative analysis, the study confirms that the relationship between voice and piano in Romantic German Lied extends be
yond a simple melody-accompaniment relationship and forms an integrated expressive structure. Furthermore, the study demonstrates that even within the same Romantic Lied tradition, the two composers developed distinct musical approaches to expressing love, memory, loss, and inner emotion.
This study also suggests interpretive implications for performers. Understanding the relationship between poetic text, musical structure, and piano accompaniment provides an important basis for expressive interpretation in performance. Ultimately, this study contributes to a bro
ader understanding of the expressive characteristics and musical organization found in the songs of Robert and Clara Schumann and offers a comparative perspective on nineteenth-century German Romantic Lied.

목차 (Table of Contents)

• Ⅰ. 서 론 1
• 1. 연구 목적 1
• 2. 연구 범위와 방법 3
• 3. 선행연구 및 연구의 제한점 5
• Ⅱ. 본 론 7
• 1. 독일 예술가곡의 발전 7
• 1） 독일 예술가곡의 형성과 낭만주의적 배경 7
• 2） 로베르트 슈만과 클라라 슈만의 예술가곡 양식 11
• 2. 작품의 배경 17
• 1） 로베르트 알렉산더 슈만（Robert Alexander Schumann） 『Frauenliebe und Leben』, Op.42 17
• （1） 작곡가 로베르트 슈만（Robert Schumann, 1810–1856） 17
• （2） 시인 아델베르트 폰 샤미소（Adelbert von Chamisso, 1781–1838） · 19
• （3） 작품의 창작 배경 21
• 2） 클라라 요제피네 비크 슈만（Clara Josephine Wieck Schumann） 『Sechs Lieder』, Op.13 23
• （1） 작곡가 클라라 슈만（Clara Schumann, 1819–1896） 23
• （2） 시인 하인리히 하이네（Heinrich Heine, 1797–1856） 25
• （3） 시인 에마누엘 가이벨（Emanuel Geibel, 1815–1884） 26
• （4） 시인 프리드리히 뤼케르트（Friedrich Rückert, 1788–1866） 27
• （5） 작품의 창작 배경 28
• 3） 소결 30
• 3. 작품 분석 31
• 1） 『Frauenliebe und Leben』, Op.42, No.1 〈Seit ich ihn gesehen〉 32
• 2） 『Frauenliebe und Leben』, Op.42, No.4 〈Du Ring an meinem Finger〉 57
• 3） 『Sechs Lieder』, Op.13, No.1 〈Ich stand in dunklen Träumen〉 88
• 4） 『Sechs Lieder』, Op.13, No.4 〈Der Mond kommt still gegangen〉 122
• 4. 작품 비교의 종합적 고찰 154
• 1） 시적 이미지와 정서 전개의 비교 154
• 2） 피아노 반주와 음악 구조의 비교 분석 160
• 3） 소결 164
• Ⅲ. 결 론 166
• 참고문헌 170
• 부 록 173
• Abstract 181