i Reinterpreting Schumann: A Study of Large-Scale Structural and Atmospheric Associations in Schumann’s Frauenliebe und -leben and Dichterliebe Song Cycles Jane Berry Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements For the MA degree in Music Theory Faculty of Arts School of Music University of Ottawa © Jane Berry, Ottawa, Canada, 2011 ii Table of Contents Abstract ............................................................................................................ v Acknowledgements .......................................................................................... v Chapter One - Introduction ............................................................................................ 1 - Analytical and Performance Applications .............................................. 2 - Influence of Robert Schumann and the Song Cycle ............................... 4 - Literature Review - Introduction ......................................................................................... 5 - Analysis of Multi-Movement Works with Schumann Studies ........... 6 - Studies in Music with Text/Song Analysis ......................................... 17 - Performance Analysis ......................................................................... 20 - Rhythmic Theory Studies ................................................................... 21 Chapter Two: Application for Analysts - Introduction ............................................................................................ 23 - Process .................................................................................................... 26 - Frauenliebe und –leben Analysis ........................................................... 34 - SG1 ..................................................................................................... 36 - SG2 ..................................................................................................... 40 - SG3 ..................................................................................................... 42 - Analytical Summary of Complete Cycle ............................................ 45 - Dichterliebe Analysis ............................................................................. 47 - SG1 ..................................................................................................... 55 - SG2 ..................................................................................................... 57 - SG3 ..................................................................................................... 60 - Analytical Summary of Complete Cycle ............................................ 62 Chapter 3: Application for Performers - Introduction ............................................................................................ 65 - Definitions/Terminology ........................................................................ 67 - Process .................................................................................................... 70 iii - Frauenliebe und –leben Analysis ........................................................... 81 - Middleground Analysis ...................................................................... 81 - Background Analysis .......................................................................... 88 - Foreground Analysis ........................................................................... 89 - Synthesis ............................................................................................. 93 - Dichterliebe Analysis .............................................................................. 94 - Middleground Analysis ....................................................................... 94 - Background Analysis .......................................................................... 96 - Foreground Analysis ........................................................................... 98 - Synthesis ............................................................................................. 108 Chapter Four : Synthesis of Ideas - Introduction ............................................................................................ 109 - Chapter 2 Summary of Findings ............................................................ 109 - Chapter 3 Summary of Findings ............................................................ 112 - Synthesis of the Applications for Analysts and Performer .............................. 114 - Concluding Remarks .............................................................................. 117 Appendices - Appendix A: Text and Translations ....................................................... 120 - Appendix B: Frauenliebe und –leben Score .......................................... 132 - Appendix C: Dichterliebe Score …………………………………….... 148 Bibliography ..................................................................................................... 182 iv List of Examples - Example 2.1: Middleground sketch of song 1, Frauenliebe und –leben ………. 38 - Example 2.2: SG1 Voice-leading of Frauenliebe und-leben ……………….. 40 - Example 2.3: Voice-leading of song 8, Frauenliebe und –leben …………. 44 - Example 2.4 a,b: SG1 Voice-leading of Dichterliebe ……………………... 56 - Example 2.4 c: SG1 Voice-leading of Dichterliebe continued…………….. 57 - Example 2.5 a: SG2 Voice-leading of Dichterliebe …………………………….. 58 - Example 2.5 b: SG2 Voice-leading of Dichterliebe continued ……………. 59 - Example 2.6: SG3 Voice-leading of Dichterliebe ……………………………….. 61 List of Figures - Figure 2.1: Key paths of Frauenliebe und –leben …………………….…. 29, 34 - Figure 2.2: Tonal relationships and song groups of Frauenliebe und –leben …. 41 - Figure 2.3: Deep-background sketch of Frauenliebe und –leben ………… 46 - Figure 2.4: Key paths of Dichterliebe ………………………………………... 48 - Figure 2.5: Deep-background of Dichterliebe ………………………………. 64 - Figure 3.1: Middleground graph of Dichterliebe …………………………………. 75 - Figure 3.2: Background graph of Dichterliebe …………………………………... 77 - Figure 3.3: Foreground graph of song 1, Dichterliebe …………………………... 80 - Figure 3.4: Middleground graph of SG1, Frauenliebe und –leben ………….. 84 - Figure 3.5: Middleground graph of Frauenliebe und –leben ………………….... 87 - Figure 3.6: Background graph of Frauenliebe und –leben …………………. 89 - Figure 3.7: Foreground graph of song 1, Frauenliebe und –leben …………... 91 - Figure 3.8: Foreground graph of song 8, Frauenliebe und –leben …………... 93 - Figure 3.9: Middleground graph of Dichterliebe …………………………… 96 - Figure 3.10: Background graph of Dichterliebe …………………………….. 98 - Figure 3.11: Foreground graph of song 1, Dichterliebe ……………………… 99 - Figure 3.12: Foreground graph of song 4, Dichterliebe …………………….. 103 - Figure 3.13: Foreground graph of song 10, Dichterliebe ………………….... 107 List of Tables - Table 2.1: Primary key relationships within Frauenliebe und –leben …………. 32, 35 - Table 2.2: Tonal associations, harmony, and song groups of Dichterliebe …... 48 - Table 2.3: Interpretations of the tonal movements of Dichterliebe ………….. 49-54 v Abstract The study of song cycles poses difficulties for both analysts and performers. These challenges stem largely from two qualities intrinsic to the genre: (1) the inclusion of two semiotic systems, language and music, and (2) the use of multi-movement structures. Several scholars have addressed these issues; however, a model built on a balanced consideration of both text-based/dramatic events and purely musical elements, has yet to be offered. This study proposes such a model with separate applications for both performers and analysts. Focusing on the identification of features connecting song cycles in their entirety, deep voice-leading associations and movements in key paths are examined in the application for analysts, whereas the performers‘ application concentrates on recognizing underlying ―atmospheres‖ and forms of acceleration. Each application is applied to Schumann‘s Frauenliebe und –leben and Dichterliebe song cycles, demonstrating the benefits of employing this model in the development of both performative and analytical interpretations. Keywords: Song Cycles, Schumann, Analysis, Tonnetz, Voice-leading, Schenker, Atmospheres, Frauenliebe und –leben, Dichterliebe, Interpretations. *** Acknowledgements I owe a great deal of thanks to numerous individuals who have helped, supported, and guided me throughout this study. First and foremost I must thank my family, for without their amazing support I would never have completed this project. To my beautiful daughter Piper, thank you for your patience; you have been an endless source of inspiration and strength, and I love you more than you will ever comprehend. Thank you Mom, for the countless sacrifices you have made in order for me to pursue my studies and passions throughout life, and for literally sitting beside me through all of the hard times, and for having faith in me all the while. Thank you Dad and Susan; even though we vi were miles apart I always knew that you were there wishing me well and ready to help in any way you could. Thank you Dr. Roxane Prevost for the priceless guidance, patience, and insight. Words cannot describe how much I have learned from working with you; it has been a pleasure and an honour. Thank you Dr. Dillon Parmer, for your ever fresh perspective, and Dr. Christopher Moore, for your time and feedback. Dr. Dineen, thank you for your creativity and openness. Your unique approach has changed the way I think