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Aesthetic and Cultural Issues in Schumann's "Kinderszenen"

Timothy D. Taylor
International Review of the Aesthetics and Sociology of Music
Vol. 21, No. 2 (Dec., 1990), pp. 161-178
DOI: 10.2307/837021
Stable URL: http://www.jstor.org/stable/837021
Page Count: 18
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Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Aesthetic and Cultural Issues in Schumann's "Kinderszenen"
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Abstract

The decline of patronage structures for musicians during the end of the 18th and beginning of the 19th centuries resulted in the growing perception of the musical work as an autonomous object, which necessitated new meanings for music. The last movement of Robert Schumann's "Kinderszenen", op. 15, 1838, entitled "Der Dichter spricht" marks perhaps the first realization by any composer of the autonomy of the musical work. Schumann compensated for this autonomy by bringing himself overtly into the work with that title, as well as both attaching and detaching this movement from the rest of "Kinderszenen" with a variety of effective musical devices.

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