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View / Open Smith Oregon 0171A 11922.Pdf HEARING WITH THE BODY: POETICS OF MUSICAL MEANING IN NOVALIS, RITTER, HOFFMANN AND SCHUMANN by ALEXIS B. SMITH A DISSERTATION Presented to the Department of German and Scandinavian and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Alexis B. Smith Title: Hearing with the Body: Poetics of Musical Meaning in Novalis, Ritter, Hoffmann and Schumann This dissertation has been accepted and approved in partial fulfillment of the requirements of the Doctor of Philosophy degree in the Department of German and Scandinavian by: Jeffrey Librett Co-Chair Dorothee Ostmeier Co-Chair Kenneth Calhoon Core Member Margret Gries Core Member Stephen Rodgers Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Alexis B. Smith iii DISSERTATION ABSTRACT Alexis B. Smith Doctor of Philosophy Department of German and Scandinavian June 2017 Title: Hearing with the Body: Poetics of Musical Meaning in Novalis, Ritter, Hoffmann and Schumann The question of whether or not music can be considered a universal language, or even a language at all, has been asked for centuries—and indeed, it is still being addressed in the 21st century. I return to this question because of the way the German Romantics answered it. Music becomes embodied in not only human language in Novalis’ concept of Poesie in “Die Lehrlinge zu Sais” (1802), but also nature and the human body in Johann Wilhelm Ritter’s scientific speculations in Fragmente aus dem Nachlasse eines jungen Physikers (1810). Seen as the manifestation of the world soul, this embodiment was an attempt to come closer to naming the unnamable, and, I argue, became the perfect platform for E.T.A. Hoffmann to develop his pseudonym and literary character Johannes Kreisler and the mysterious power of music he experiences in the collection of musical critiques and essays, Kreisleriana (1810-1814), and the novel, Lebens-Ansichten des Katers Murr (1819/1821). Finally, I argue that Hoffmann’s musical literary style can be heard and ‘felt’ in Robert Schumann’s piano cycle, Kreisleriana, Op. 16 (1838), as other scholars have also analyzed, but that there is also a ‘mixing of discourses’ involved, including Schumann’s own words about the suite. Music is not a universal language—at least, not as understood by the mind and described through words. iv These writers and composer grapple with the observation that music has a powerful influence over the body—can music then be seen as a ‘language’ received and understood by the body? If so, can an interdisciplinary approach to music and language through science lead to better understanding, as was already exemplified by the collaboration among the German Romantics? v CURRICULUM VITAE NAME OF AUTHOR: Alexis B. Smith GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene University of Northern Colorado, Greeley DEGREES AWARDED: Doctor of Philosophy, German, 2017, University of Oregon Graduate Certificate in Nonprofit Management, 2017, University of Oregon Master of Arts, German, 2008, University of Oregon Bachelor of Arts, Music and German, 2005, University of Northern Colorado AREAS OF SPECIAL INTEREST: German Language and Literature German Music and Music History Nonprofit Management and Grant Writing PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, Department of German and Scandinavian, University of Oregon, Eugene, 2011 to present Pre-school German Instructor, Sophie Scholl Schule, Corvallis, Oregon, 2013- 2014 German Instructor, German Department, Western Oregon University, Monmouth, 2009-2012 Graduate Teaching Fellow, Department of German and Scandinavian, University of Oregon, Eugene, 2006-2008 GRANTS, AWARDS, AND HONORS: Philip Hansen Graduate Fellowship Scholarship, Department of German and Scandinavian, 2016, 2013 vi Astrid M. Williams Award, Department of German and Scandinavian, 2015-2016 Graduate Summer Translation Award, Translation Studies Working Group, Elsa Asenijeff’s Unschuld (1901), 2015 Graduate Research Forum Award: Imaginative Design, Art, and Performance, Graduate School, 2015 Julie and Rocky Dixon Graduate Innovation Award, Graduate School, 2014-2015 Roger Nicholls Memorial Scholarship, Department of German and Scandinavian, 2013 Fulbright Scholarship, Baden-Württemberg Seminar for American Faculty in German and German Studies, 2010 Conference Travel Awards, Department of German and Scandinavian, 2013- 2016, 2008 Festival junger Künstler Bayreuth (Bayreuth Festival for Young Artists), Music Composition Workshop, 2004 PUBLICATIONS: Asenijeff, Elsa. Innocence: A Modern Book for Girls (1901). Trans. Eva Hoffmann and Alexis B. Smith. Ed. Natalie K. Brenner and Robert Mottram. Riverside, CA: Ariadne Press, (forthcoming). “Ritter’s Musical Blood Flow Through Hoffmann’s Kreisler.” The Early History of Embodied Cognition 1740-1920: The Lebenskraft-Debate and Radical Reality in German (Medical) Science, Music, and Literature. Ed. John A. McCarthy, Stephanie Hilger, Heather Sullivan, and Nicholas Saul. Leiden & New York: Brill|Rodopi, 2016. 145-162. vii ACKNOWLEDGEMENTS I extend many thanks to the Department of German and Scandinavian for its continual financial support during my graduate studies. I would like to thank Professors Jeffrey Librett and Dorothee Ostmeier for their many years of support and assistance and for serving as co-chairs in the preparation of this dissertation. Special thanks are also due to Dr. Margret Gries, whose expertise and interest in (especially) German music history, philosophy, and science and whose suggested resources helped me bridge the interdisciplinary nature of my dissertation. I would also like to thank Dr. Stephen Rodgers for his assistance on the Schumann chapter and analysis, and Professor Kenneth Calhoon for directing me to the quote by Carlos Santana (included, with gratitude, at the beginning of the “Conclusion” to my dissertation). I am very grateful to Dr. Roger Grant, who served on the committee during the early years of the dissertation before leaving the UO, and Dr. James Fittz, for serving as an honorary member from afar. And last, but certainly not least, I would like to thank the members of the department and all of my friends and family for the incredible teamwork that went into caring for Eleanor and completing this project. viii To my sister, Tara, for always being by my side (even from a distance) as we continue to follow our dreams, and to the Farm, with gratitude, for all that it brought into my life. ix TABLE OF CONTENTS Chapter Page I. INTRODUCTION: READING MUSIC IN LANGUAGE AND LANGUAGE IN MUSIC ................................................................................ 1 II. A ‘CHORD PROGRESSION’ OF LEIBNIZ’S PRE-ESTABLISHED HARMONY IN NOVALIS’ “DIE LEHRLINGE ZU SAIS” ......................... 15 III. SOUND, LIGHT AND LANGUAGE: NOVALIS AND RITTER ON THE KLANGFIGUREN ................................................................................... 57 IV. RITTER’S MUSICAL BLOOD FLOW THROUGH HOFFMANN’S KREISLER ...................................................................................................... 101 V. “SO SPRACHVOLL AUS DEM HERZEN:” POETIC EXPRESSION IN THE INNER VOICES OF ROBERT SCHUMANN’S KREISLERIANA, OP. 16 .............................................................................................................. 135 VI. CONCLUSION ................................................................................................ 172 REFERENCES CITED ................................................................................................ 183 x LIST OF FIGURES Figure Page 2.1. Table 1 from Entdeckungen über die Theorie des Klanges, 1787 .................... 61 2.2. From William Henry Stone (1879) Elementary Lessons on Sound ................. 68 4.1. Piece 1, A Section, mm. 1-8 ............................................................................. 156 4.2. Piece 1, B Section, mm. 9-14 ............................................................................ 157 4.3. Piece 1, mm. 15-17. The inner melody disappears in a transition back to the A Section. ................................................................................................ 157 4.4. Piece 2, mm. 1-8 ............................................................................................... 158 4.5. Piece 2, mm. 9-18 ............................................................................................. 160 4.6. Piece 2, Intermezzo I (section B), mm. 38-45 .................................................. 161 4.7. Piece 2, Intermezzo II (section C), mm. 92-96 ................................................. 162 4.8. Piece 2, “Langsamer (erstes Tempo)” (section D), mm. 119-128 .................... 163 4.9. Piece 3, “Sehr aufgeregt” (section A), mm. 1-19 ............................................. 164 4.10. Piece 3, “Etwas langsamer” (section B), mm. 33-45 ........................................ 166 4.11. Piece 4, “Sehr langsam” (section A), mm. 1-6. In measure 5 Robert’s voice enters. ...................................................................................................... 167 4.12. Piece 4, “Bewegter” (section B), mm. 12-17 .................................................... 168 xi CHAPTER I INTRODUCTION: READING MUSIC IN LANGUAGE AND LANGUAGE IN MUSIC Any musicologist realizes
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