References
Published online by Cambridge University Press: 30 March 2023
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- The Songs of Clara Schumann , pp. 182 - 189Publisher: Cambridge University PressPrint publication year: 2023
References
Baker, Michael. “Multiply-Interrupted Structure in Clara Schumann’s ‘Liebst du um Schönheit.’” In Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900, edited by Parsons, Laurel and Ravenscroft, Brenda, 210–27. New York: Oxford University Press, 2018.Google Scholar
Boyd, Melinda. “Gendered Voices: The ‘Liebesfrühling’ Lieder of Robert and Clara Schumann.” 19th-Century Music 23/2 (1999): 145–62.CrossRefGoogle Scholar
Burstein, L. Poundie. “Their Paths, Her Ways: Comparisons of Text Settings by Clara Schumann and Other Composers.” Women and Music: A Journal of Gender and Culture 6 (2002): 11–26.Google Scholar
Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press, 1998.CrossRefGoogle Scholar
Caplin, William E. “The Classical Cadence: Conceptions and Misconceptions.” Journal of the American Musicological Society 57/1 (2004): 51–118.CrossRefGoogle Scholar
Caplin, William E. “Beyond the Classical Cadence: Thematic Closure in Early Romantic Music.” Music Theory Spectrum 40/1 (2018): 1–26.CrossRefGoogle Scholar
Capuzzo, Guy. “Rhythmic Deviance in the Music of Meshuggah.” Music Theory Spectrum 40/1 (2018): 121–37.CrossRefGoogle Scholar
Citron, Marcia J. “Gender, Professionalism, and the Musical Canon.” Journal of Musicology 8/1 (1990): 102–17.CrossRefGoogle Scholar
Citron, Marcia J Gender and the Musical Canon. Cambridge: Cambridge University Press, 1993.Google Scholar
Citron, Marcia J “Women and the Western Canon: Where Are We Now?” Notes 64/2 (2007): 209–15.CrossRefGoogle Scholar
Clark, Frances, Gross, Louise, and Holland, Sam. The Music Tree Student’s Book: Time to Begin – A Plan for Musical Growth at the Piano. New York: Alfred Music, 2000.Google Scholar
Cusick, Suzanne. “Feminist Theory, Music Theory, and the Mind/Body Problem.” Perspectives of New Music 32/1 (1994): 8–27.CrossRefGoogle Scholar
Davis, Andrew. Sonata Fragments: Romantic Narratives in Chopin, Schumann, and Brahms. Bloomington, IN: Indiana University Press, 2017.CrossRefGoogle Scholar
Deaville, James. “The Lied at Mid Century.” In The Cambridge Companion to the Lied, edited by Parsons, James and Cross, Jonathan, 142–67. Cambridge: Cambridge University Press, 2004.Google Scholar
Ewell, Philip. “Music Theory and the White Racial Frame.” Music Theory Online 26/2 (2019).Google Scholar
Ferris, David. Schumann’s Eichendorff Liederkreis and the Genre of the Romantic Cycle. New York: Oxford University Press, 2000.CrossRefGoogle Scholar
Ferris, David “Public Performance and Private Understanding: Clara Wieck’s Concerts in Berlin.” Journal of the American Musicological Society 56/2 (2003): 351–408.CrossRefGoogle Scholar
Finson, Jon W. Robert Schumann: The Book of Songs. Cambridge, MA: Harvard University Press, 2007.Google Scholar
Forkert, Annika. “Review of Analytical Essays on Music by Women Composers: Concert Music, 1960–2000.” Music & Letters 98/3 (2017): 493–96.CrossRefGoogle Scholar
Fox, Mary Elizabeth. “Formal Relationships in Clara Wieck’s Piano Concerto Op. 7.” Unpublished MA Thesis, University of Ottawa, 2015.Google Scholar
Fritz, Sarah. “Wieck Spot: Advocating for the Music of Clara Schumann.” VAN Magazine, November 11, 2021.Google Scholar
Gilbert, Sandra M., and Gubar, Susan. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Haven, CT: Yale University Press, 1979.Google Scholar
Guck, Marion. “A Woman’s (Theoretical) Work.” Perspectives of New Music 32/1 (1994): 28–43.CrossRefGoogle Scholar
Hallmark, Rufus. “The Rückert Lieder of Robert and Clara Schumann.” 19th-Century Music 14/1 (1990): 3–30.CrossRefGoogle Scholar
Hepokoski, James, and Darcy, Warren. Elements of Sonata Theory: Norms, Types, and Deformations in the Late Eighteenth-Century Sonata. New York: Oxford University Press, 2006.CrossRefGoogle Scholar
Hisama, Ellie M. Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon. Cambridge: Cambridge University Press, 2001.Google Scholar
Horton, Julian. “Criteria for a Theory of Nineteenth-Century Sonata Form.” Music Theory and Analysis 4/2 (2017): 147–91.Google Scholar
Horton, Julian “Syntax and Process in the First Movement of Mendelssohn’s Piano Trio Op. 66.” In Rethinking Mendelssohn, edited by Taylor, Benedict, 236–62. Oxford: Oxford University Press, 2021.Google Scholar
Hyland, Ann M. “Rhetorical Closure in the First Movement of Schubert’s Quartet in C major, D. 46: A Dialogue with Deformation.” Music Analysis 28/1 (2009): 111–42.CrossRefGoogle Scholar
Jenkins, Steve. Down, Down, Down: A Journey to the Bottom of the Sea. New York: Harper Collins, 2016.Google Scholar
Joachim, Joseph. Briefe von und an Joseph Joachim, 3 vols. Edited by Joachim, Johannes and Meyer, Andreas. Berlin: Julius Bard, 1911–13.Google Scholar
Johnson, Graham. Liner notes The Songs of Robert Schumann, vol. 8. Christopher Maltman (baritone), Jonathan Lemalu (baritone), Mark Padmore (tenor), and Graham Johnson (piano). Hyperion CDJ33108, 2003, compact disc.Google Scholar
Johnson, Graham Franz Schubert: The Complete Songs, 3 vols. New Haven, CT: Yale University Press, 2014.Google Scholar
Kallberg, Jeffrey. Chopin at the Boundaries: Sex, History, and Musical Genre. Cambridge, MA: Harvard University Press, 1996.Google Scholar
Kielian-Gilbert, Marianne. “Of Poetics and Poiesis, Pleasure and Politics – Music Theory and Modes of the Feminine.” Perspectives of New Music 32/1 (1994): 44–67.CrossRefGoogle Scholar
Klassen, Janina. Clara Wieck-Schumann: Die Virtuosin als Komponisten. Kassel: Bärenreiter, 1990.Google Scholar
Klassen, Janina Clara Schumann: Musik und Öffentlichkeit. Cologne: Böhlau Verlag, 2009.CrossRefGoogle Scholar
Krebs, Harald. “Third Relation and Dominant in Late 18th- and Early 19th-Century Music.” Unpublished PhD dissertation, Yale University, 1980.Google Scholar
Krebs, Harald “Alternatives to Monotonality in Early Nineteenth-Century Music.” Journal of Music Theory 25/1 (1981): 1–16.CrossRefGoogle Scholar
Krebs, Harald “‘The Power of Class’ in a New Perspective: A Comparison of the Compositional Careers of Fanny Hensel and Josephine Lang.” Nineteenth-Century Music Review 4/2 (2007): 37–48.CrossRefGoogle Scholar
Krebs, Harald “Sentences in the Lieder of Robert Schumann: The Relation to the Text.” In Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno, edited by Moortele, Steven Vande, Pedneault-Deslauriers, Julie, and Martin, Nathan John, 225–51. Rochester, NY: University of Rochester Press, 2015.Google Scholar
Krebs, Harald “The Influence of Clara Schumann’s Lieder on Declamation in Robert Schumann’s Late Songs.” SMT-V: Videocast Journal of the Society for Music Theory 2/1 (2016).Google Scholar
Krebs, Harald, and Krebs, Sharon. Josephine Lang: Her Life and Songs. New York: Oxford University Press, 2006.Google Scholar
Lewin, David. Studies in Music with Text. New York: Oxford University Press, 2006.CrossRefGoogle Scholar
Litzmann, Berthold. Clara Schumann: An Artist’s Life, Based on Material Found in Diaries and Letters, vol. 2. Translated by Hadow, Grace E.. Cambridge: Cambridge University Press, 2013.Google Scholar
Lochhead, Judy. Reconceiving Structure in Contemporary Music. New York: Routledge, 2015.CrossRefGoogle Scholar
Lucas, Olivia R. “‘So Complete in Beautiful Deformity’: Unexpected Beginnings and Rotated Riffs in Meshuggah’s obZen.” Music Theory Online 24/3 (2018).CrossRefGoogle Scholar
Macarthur, Sally. “Renovating Music Analysis.” Musicology Australia 38/2 (2016): 182–93.CrossRefGoogle Scholar
Malawey, Victoria. “Strophic Modification in Songs by Amy Beach.” Music Theory Online 20/4 (2014).CrossRefGoogle Scholar
Malin, Yonatan. Songs in Motion: Rhythm and Meter in the German Lied. New York: Oxford University Press, 2010.CrossRefGoogle Scholar
Malin, Yonatan “Modulating Couplets in Fanny Hensel’s Songs.” In The Songs of Fanny Hensel, edited by Rodgers, Stephen, 171–92. New York: Oxford University Press, 2021.Google Scholar
Martin, Alexander. “Dreamlike Ambiguities in Clara Schumann’s ‘Ihr Bildnis.’” Presentation at the annual conference of the Society for Music Theory, November 6, 2021.Google Scholar
Martin, Nathan John. “Formenlehre Goes to the Opera: Examples from Armida and Elsewhere.” Studia Musicologica 51/3–4 (2010): 387–404.CrossRefGoogle Scholar
Martin, Nathan John “Schumann’s Fragment.” Indiana Theory Review 28/1–2 (2010): 85–109.Google Scholar
Maus, Fred Everett. “Masculine Discourse in Music Theory.” Perspectives of New Music 31/2 (1993): 264–93.CrossRefGoogle Scholar
McClary, Susan. “Paradigm Dissonances: Music Theory, Cultural Studies, Feminist Criticism.” Perspectives of New Music 32/1 (1994): 68–85.CrossRefGoogle Scholar
McClary, Susan “In the Realm of All the Senses: Two Sarabandes by Élisabeth-Claude Jacquet de la Guerre.” In Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900, edited by Parsons, Laurel and Ravenscroft, Brenda, 109–28. New York: Oxford University Press, 2018.Google Scholar
Meyer, Leonard B. Emotion and Meaning in Music. Chicago, IL: University of Chicago Press, 1956.Google Scholar
Miller, Caitlin. “‘Und das hat mit ihrem Singen, Die Lore-Ley gethan’: Subjectivity and Objectification in Two Heine Settings.” In Women and the Nineteenth-Century Lied, edited by Kenny, Aisling and Wollenberg, Susan, 223–50. Farnham: Ashgate, 2015.Google Scholar
Monahan, Seth. “Negative Catharsis as Rotational Telos in Mahler’s First Kindertotenlied.” Intégral 28/29 (2014–15): 13–51.Google Scholar
Monahan, Seth Mahler’s Symphonic Sonatas. New York: Oxford University Press, 2015.CrossRefGoogle Scholar
The Nash Ensemble. Clara Schumann, Piano Trio; Fanny Hensel, Piano Trio, String Quartet. Hyperion CDA68307, 2020, compact disc.Google Scholar
Navia, Gabriel, and Ferraro, Gabriel. “Latin American Popular Music in the Study of Musical Form.” In The Routledge Companion to Music Theory Pedagogy, edited by VanHandel, Leigh, 298–300. New York: Routledge, 2020.Google Scholar
Parsons, Laurel, and Ravenscroft, Brenda, eds. Analytical Essays on Music by Women Composers: Concert Music, 1960–2000. New York: Oxford University Press, 2016.CrossRefGoogle Scholar
Parton, Christopher. “Speech and Silence: Encountering Flowers in the Lieder of Clara Schumann.” Nineteenth-Century Music Review, forthcoming.Google Scholar
Pedneault-Deslauriers, Julie. “Bass-Line Melodies and Form in Four Piano and Chamber Works by Clara Wieck-Schumann.” Music Theory Spectrum 38/2 (2016): 133–54.CrossRefGoogle Scholar
Pedneault-Deslauriers, Julie “Beyond Vierhebigkeit: Phrase Structure and Poetic Meaning in Three Lieder by Clara Schumann.” Music Theory & Analysis 8/11 (2021): 54–73.Google Scholar
Pieslak, Jonathan. “Re-casting Metal: Rhythm and Meter in the Music of Meshuggah.” Music Theory Spectrum 29/2 (2007): 219–45.CrossRefGoogle Scholar
Prince, April. “(Re)Considering the Priestess: Clara Schumann, Historiography, and the Visual.” Women and Music 21 (2017): 107–40.CrossRefGoogle Scholar
Reddick, Carissa. “Becoming at a Deeper Level: Divisional Overlap in Sonata Forms from the Late Nineteenth Century.” Music Theory Online 16/2 (2010).CrossRefGoogle Scholar
Reich, Nancy B. “The Power of Class: Fanny Hensel.” In Mendelssohn and His World, edited by Todd, R. Larry, 86–99. Princeton, NJ: Princeton University Press, 1991.Google Scholar
Reich, Nancy B. Clara Schumann: The Artist and the Women, revised ed. Ithaca, NY: Cornell University Press, 2001.Google Scholar
Reich, Nancy B. Liner notes to The Songs of Clara Schumann. Susan Gritton (soprano), Stephan Loges (baritone), and Eugene Asti (piano). Helios CDA67249, 2002, compact disc.Google Scholar
Rodgers, Stephen. Form, Program, and Metaphor in the Music of Berlioz. Cambridge: Cambridge University Press, 2009.Google Scholar
Rodgers, Stephen “Fanny Hensel’s Lied Aesthetic.” Journal of Musicological Research 30/3 (2011): 175–201.CrossRefGoogle Scholar
Rodgers, Stephen “Thinking (and Singing) in Threes: Triple Hypermeter and the Songs of Fanny Hensel.” Music Theory Online 17/1 (2011).CrossRefGoogle Scholar
Rodgers, Stephen “Sentences with Words: Text and Theme-Type in Die schöne Müllerin.” Music Theory Spectrum 36/1 (2014): 58–85.CrossRefGoogle Scholar
Rodgers, Stephen “Schubert’s Idyllic Periods.” Music Theory Spectrum 39/2 (2017): 223–46.CrossRefGoogle Scholar
Rodgers, Stephen “Clara Schumann: Reading against the Grain.” Women’s Song Forum, November 3, 2020.Google Scholar
Rodgers, Stephen “Softened, Smudged, Erased: Punctuation and Continuity in Clara Schumann’s Lieder.” In Clara Schumann Studies, edited by Davies, Joe, 57–74. Cambridge: Cambridge University Press, 2022.Google Scholar
Rodgers, Stephen, and Osborne, Tyler. “Prolongational Closure in the Lieder of Fanny Hensel.” Music Theory Online 26/3 (2020).CrossRefGoogle Scholar
Ronyak, Jennifer. Intimacy, Performance, and the Lied in the Early Nineteenth Century. Bloomington, IN: Indiana University Press, 2018.Google Scholar
Sams, Eric The Songs of Robert Schumann, 3rd ed. Bloomington, IN: Indiana University Press, 1993.Google Scholar
Sams, Eric, and Johnson, Graham. “Lied” (“IV. The Romantic Lied”). Grove Music Online. Edited by Deane Root. Accessed October 31, 2019. www.oxfordmusiconline.com.Google Scholar
Schenker, Henrich. Free Composition (Der freie Satz), vol. 1. Translated and edited by Oster, Ernst. New York: Longman, 1979.Google Scholar
Schichtman, Sandra H. The Joy of Creation: The Story of Clara Schumann. Greensboro, NC: Morgan Reynolds, 2010.Google Scholar
Schmalfeldt, Janet. In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music. New York: Oxford University Press, 2011.Google Scholar
Schmiedel, Elisabeth, and Draheim, Joachim. Eine Musikerfamilie im 19. Jahrhundert: Mariane Bargiel, Clara Schumann, Woldemar Bargiel in Briefen und Dokumenten. Wiesenfelder: Katzbichler, 2007.Google Scholar
Schumann, Clara. Tagebücher, 3 vols. Edited by Eismann, Georg and Nauhaus, Gerd. Leipzig: Deutscher Verlag für Musik, 1971–82.Google Scholar
Schumann, Clara Clara Schumamm: Sämtliche Lieder, vol. 1. Edited by Draheim, Joachim and Höft, Brigitte. Wiesbaden: Breitkopf & Härtel, 1990.Google Scholar
Schumann, Clara Clara Schumann: Sämtliche Lieder für Singstimme und Klavier, vol. 2. Edited by Draheim, Joachim and Höft, Brigitte. Wiesbaden: Breitkopf & Härtel, 1992.Google Scholar
Schumann, Clara Clara Schumann: Complete Songs. Dorothea Craxton (soprano) and Hedayet Djeddikar (piano). Naxos 8570747, 2009.Google Scholar
Schumann, Clara Clara Schumann: Piano Sonata in G Minor. Sharon Su (piano). Self-published EP, 2019.Google Scholar
Schumann, Clara Das Berliner Blumentagebuch der Clara Schumann. Edited by Hoffmann, Renate and Schmidt, Harry. Leipzig: Breitkopf & Härtel, 2019.Google Scholar
Schumann, Clara Romance: The Piano Music of Clara Schumann. Isata Kanneh-Mason (piano). Decca 4850020, 2019, compact disc.Google Scholar
Schumann, Clara, and Schumann, Robert. Briefwechsel: Kritische Gesamtausgabe, vol 2. Edited by Weissweiler, Eva. Basel: Stroemfeld/Roter Stern, 1987.Google Scholar
Schumann, Clara, and Schumann, Robert The Marriage Diaries of Robert & Clara Schumann: From Their Wedding Day through the Russia Trip. Edited by Nauhaus, Gerd; translated by Peter Ostwald. Boston, MA: Northeastern University Press, 1993.Google Scholar
Schumann, Clara, and Schumann, Robert The Complete Correspondence of Clara and Robert Schumann, 3 vols. Edited by Weissweiler, Eva; translated by Hildegard Fritsch and Ronald L. Crawford. New York: Peter Lang, 1994, 1995, 2002.Google Scholar
Schumann, Clara, and Schumann, Robert Robert und Clara Schumann Ehetagebücher 1840–1844. Edited by Nauhaus, Gerd and Bodsch, Ingrid. Bonn: Stroemfeld, 2007.Google Scholar
Schumann, Clara, and Schumann, Robert Schumann Briefedition, 50 vols. Edited by Heinemann, Michael and Synofzik, Thomas. Cologne: Dohr, 2008–[25].Google Scholar
Schumann, Clara, and Schumann, Robert Rückert Lieder: Robert & Clara Schumann. Mary Bevan (soprano), Katie Bray (mezzo-soprano), Sholto Kynoch (piano), Robert Murray (tenor), and Roderick Williams (baritone). Stone Records, 5060192780642, 2016, compact disc.Google Scholar
Schumann, Clara, and Schumann, Robert Album für die Frau, Scenes from the Schumanns’ Lieder. Carolyn Sampson (soprano) and Joseph Middleton (piano). BIS BIS2473, 2021, compact disc.Google Scholar
Smith, Barbara Hernnstein. Poetic Closure: A Study of How Poems End. Chicago, IL: University of Chicago Press, 1968.Google Scholar
Smith, Peter H. “The Type 2 Sonata in the Nineteenth Century: Two Case Studies from Mendelssohn and Dvořák.” Journal of Music Theory 63/1 (2019): 103–38.CrossRefGoogle Scholar
Stefaniak, Alexander. “Clara Schumann’s Interiorities and the Cutting Edge of Popular Pianism.” Journal of the American Musicological Society 70/3 (2017): 697–765.Google Scholar
Stefaniak, Alexander “Clara Schumann and the Imagined Revelation of Musical Works.” Music & Letters 99/2 (2018): 194–223.CrossRefGoogle Scholar
Stefaniak, Alexander Becoming Clara Schumann: Performance Strategies and Aesthetics in the Culture of the Musical Canon. Bloomington, IN: Indiana University Press, 2021.CrossRefGoogle Scholar
Stein, Deborah. Hugo Wolf’s Lieder and Extensions of Tonality. Ann Arbor, MI: UMI Research Press, 1985.Google Scholar
Stein, Deborah, and Spillman, Roland. Poetry into Song: Performance and Analysis of Lieder. New York: Oxford University Press, 1996.Google Scholar
Straus, Joseph N. The Music of Ruth Crawford Seeger. Cambridge: Cambridge University Press, 2003.Google Scholar
Taylor, Benedict. Mendelssohn, Time and Memory: The Romantic Conception of Cyclic Form. Cambridge: Cambridge University Press, 2011.Google Scholar
Taylor, Benedict “Clara Wieck’s A Minor Piano Concerto: Formal Innovation and the Problem of Parametric Disconnect in Early Romantic Music.” Music Theory & Analysis 8/2 (2021): 215–43.Google Scholar
Taylor, Benedict “Mendelssohn and Sonata Form: The Case of Op. 44 No. 2.” In Rethinking Mendelssohn, edited by Taylor, Benedict, 185–209. Oxford: Oxford University Press, 2021.Google Scholar
Temperley, David. “Hypermetrical Transitions.” Music Theory Spectrum 30/2 (2008): 305–25.CrossRefGoogle Scholar
Thym, Jürgen. “Crosscurrents in Song: Six Distinctive Voices.” In German Lieder in the Nineteenth Century, edited by Hallmark, Rufus, 178–238. New York: Routledge, 2010.Google Scholar
Tilden, Imogen. “Clara Schumann: Google Doodle Celebrates Life of Piano Prodigy.” The Guardian, September 13, 2012.Google Scholar
Vande Moortele, Steven. The Romantic Overture and Musical Form from Rossini to Wagner. Cambridge: Cambridge University Press, 2017.CrossRefGoogle Scholar
Vande Moortele, Steven “Romantic Forms.” In The Cambridge Companion to Music and Romanticism, edited by Taylor, Benedict, 258–76. Cambridge: Cambridge University Press, 2021.Google Scholar
Vedernjak, Moija (mezzo-soprano), and Perifanova, Stefka (piano). Intoxication. Pianoversal, 2020, compact disc.Google Scholar
Wadsworth, Benjamin. “Directional Tonality in Schumann’s Early Works.” Music Theory Online 18/4 (2012).CrossRefGoogle Scholar
Weinstein-Reiman, Michael. “‘Inside’ Voices and Coupling Dynamics: An Analysis of Clara Wieck-Schumann’s Notturno from Soirées Musicales., Op. 6 No 2.” Theory and Practice 42 (2017): 1–28.Google Scholar
Wollenberg, Susan. “Clara Schumann’s ‘Liebst du um Schönheit’ and the Integrity of a Composer’s Vision.” In Women and the Nineteenth-Century Lied, edited by Kenny, Aisling and Wollenberg, Susan, 123–39. Farnham: Ashgate, 2015.Google Scholar
Youens, Susan. Retracing a Winter’s Journey: Schubert’s Winterreise. Cambridge: Cambridge University Press, 1991.Google Scholar
Youens, Susan Schubert: Die schöne Müllerin. Cambridge: Cambridge University Press, 1992.Google Scholar
Youens, Susan Heinrich Heine and the Lied. Cambridge: Cambridge University Press, 2007.Google Scholar
Youens, Susan “Disillusionment and Patriotism: Clara and Robert in the Wake of the 1848–1849 Revolutions.” In Clara Schumann Studies, edited by Davies, Joe, 36–56. Cambridge: Cambridge University Press, 2022.Google Scholar