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Formal and Harmonic Considerations in Clara Schumann's Drei Romanzen, op. 21, no. 1

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2015, Master of Music (MM), Bowling Green State University, Music Theory.
As one of her most mature works, Clara Schumann's Drei Romanzen, op. 21, no. 1, composed in 1855, simultaneously encapsulates her musical preferences after half a lifetime of extensive musical study and reflects the strictures applied to "women’s music" at the time. During the Common Practice Period, music critics would deride music by women that sounded too "masculine" or at least not "feminine" enough. Women could not write more progressive music without risking a backlash from the music critics. However, Schumann's music also had to earn the respect of her more progressive fellow composers. In this piece, she achieved that balance by employing a very Classical formal structure and a distinctly Romantic, if somewhat restrained, harmonic language. Her true artistic and compositional talents shine forth despite, and perhaps even due to, the limits in which her music had to reside.
Gregory Decker (Advisor)
Gene Trantham (Committee Member)
88 p.

Recommended Citations

Citations

  • Lakner, K. (2015). Formal and Harmonic Considerations in Clara Schumann's Drei Romanzen, op. 21, no. 1 [Master's thesis, Bowling Green State University]. OhioLINK Electronic Theses and Dissertations Center. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431660576

    APA Style (7th edition)

  • Lakner, Katie. Formal and Harmonic Considerations in Clara Schumann's Drei Romanzen, op. 21, no. 1. 2015. Bowling Green State University, Master's thesis. OhioLINK Electronic Theses and Dissertations Center, http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431660576.

    MLA Style (8th edition)

  • Lakner, Katie. "Formal and Harmonic Considerations in Clara Schumann's Drei Romanzen, op. 21, no. 1." Master's thesis, Bowling Green State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431660576

    Chicago Manual of Style (17th edition)