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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
Published by: Croatian Musicological Society
Stable URL: http://www.jstor.org/stable/837021
Page Count: 18
You can always find the topics here!Topics: Musical aesthetics, Music composition, Composers, Ritual music, Music, Art objects, Philosophy of music, Objectification, Aesthetics, Poetry
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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.
International Review of the Aesthetics and Sociology of Music © 1990 Croatian Musicological Society