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Principles of Formal Structure in Schumann's Early Piano Cycles

Peter Kaminsky
Music Theory Spectrum
Vol. 11, No. 2 (Autumn, 1989), pp. 207-225
Published by: on behalf of the Society for Music Theory
DOI: 10.2307/745936
Stable URL: http://www.jstor.org/stable/745936
Page Count: 19
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Principles of Formal Structure in Schumann's Early Piano Cycles
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Abstract

In Schumann's early piano cycles Papillons, Carnaval, and Davidsbündlertänze, the repetition of harmonic and motivic material across movements at various levels of structure plays a significant role in the large-scale tonal and formal organization. Analysis of the cross-referential process includes aspects of harmony, voice leading, and rhythm, as well as the unique extramusical conceits associated with each work, and demonstrates Schumann's increasingly sophisticated means of achieving structural coherence, culminating in the Davidsbündlertänze.

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