![]() This climax is echoed by the piano, which then continues The final line of each stanza to burst forth toward a climax at the end High note, as was the case in the Schumann song, the vocal part repeats Is pervaded by descending half-step motions, Loewe's is filled withĪscending chromatic motions. Grammatical division within the first line, instead choosing to plowĪlong with a rollicking, majorkey melody. Instance, unlike Schumann, he completely ignores the internal rhyme and Loewe's setting treats the same words much less gravely. Helps create an almost claustrophobic sense of despair. The dronelike repetition of this E-D motive Voice once more cries out on the high E-D (mm. ![]() The E-Dįigure is then repeated down an octave (mm. Vocalist stops ascending after the second statement of the motive, as Unlike the piano introduction, however, the Piano introduction, and the singer enters as if to echo these three Liebten sich beide" this motive is presented three times in the That focuses on a love that is cut off by death (ex. In her setting of "Volkslied," a posthumously published song Her song is pervaded by aĭescending sigh motive similar to one that Schumann had used previously Harmonies filled with poignant suspensions. Schumann sets this text in a tragic vein, using a minor key and They looked at one another with such hostility, Sie trennten sich endlich, und sah'n sich Man and woman who never express the love they have for one another: The settings of Heinrich Heine's "Sie liebten sichīeide" by Clara Schumann and Carl Loewe provide an apt starting Songs as a presence distinct from that of the male gaze. View that is quite different from those offered by her maleĬounterparts, for she tends to establish the woman character in her (2) In each case, as we shall see, Schumann presents a point of Male composers, including Loewe, Schubert, Wolf, Grieg, Mozart, andįranz. Of Schumann's songs and match them against settings by celebrated Others helps demonstrate how the composer's gender can subtlyĭetermine musical features of a song. Many of the poems that she set were set also by various other Though limited in number, Schumann's songs are consistentlyīrilliant. Text settings by a woman may be found in the lieder of Clara Schumann. Personal reactions to the text, the gendered perspective of theĬomposers can deeply influence the final product.Ī number of good examples that suggest the influence of gender on Songs, where the settings can reveal much about the composers' Interpretations of a poem, these differences of interpretation in turnĬould help shape their musical settings. Much as theĭifferent life experiences of women and men certainly may color their Perhaps none is so readily apparent as text setting. The areas in which the gender of a composer can affect a work of music, The same is true when composers deal with literary texts. They portray the characters and situations in their own literary General, so can the life experiences of authors or poets influence how One's gender-can influence how one views people and situations in One's own life experience-which is of course greatly affected by Rather, it simply acknowledges that much as (1) This is not to imply that women writersĮxpress a monolithic viewpoint or that writers cannot transcend their Literary theorists, such as Sandra Gilbert and Susan Gubar, haveĭiscussed the tendency for women to adopt a perspective that differsįrom that of their male counterparts, so as to establish a somewhat Literary scholars have long recognized that gender can influence APA style: Their paths, her ways: comparison of text settings by Clara Schumann and other composers.Their paths, her ways: comparison of text settings by Clara Schumann and other composers." Retrieved from 2002 University of Nebraska Press 29 Jun. MLA style: "Their paths, her ways: comparison of text settings by Clara Schumann and other composers." The Free Library.
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