how does schumann end in the lovely month of may?
Are you implying that retrospective contextualization doesn't happen, or is illegitimate?

Now, your point about upper neighbors is clever, and not something I thought of; so to that extent, perhaps I was wrong to say we would be "at a loss" to come up with a motivation for the g#''. Where's the evidence for this oddly-specific assumption? I read some of this. what kind of “non-chord tone” is the a#? It's a virtual certainty. These could also be read as smaller reflections of the two larger upper embellishments in this passage: the C# decorating the B, and the IV6 - V harmonic neighbor. A Poet’s Love.

Not sure what this means either. At the beginning of each verse, on “In the lovely month of May”, it feels more like A major with some 5—>1 motion in the bass and relatively clearer chord structures.

Within these short phrases are complex melodies and unexpected harmonies that highlight the strong feelings described in the text. I don't understand what the specific connection is, other than that. The G#, then, acts as an upper neighbor to that F#, giving two distinct levels of neighbor note in the one gesture. At this point, I had to stop reading, because although there was at least one nice musical detail pointed out (reducing the G#-F# to G# instead of F#), the arguments surrounding this were too unsupported and/or unclear. You make speculative and dogmatic claims without going into justification or detail, and the larger argument of this section seems vague and unreflective. On the other end of my life I had landed a job and worked my way up to GM at a fast casual Hawaiian BBQ joint. International Music Score Library Project, Texts, translations, information on original and final editions, available published editions, recommended recordings, web and book bibliography, Recording performed by Anton Belov, baritone and Lydia Brown, piano,, Musical settings of poems by Heinrich Heine, Articles with International Music Score Library Project links, Wikipedia articles with CANTIC identifiers, Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 13 October 2020, at 23:01. ( Log Out /  How has my theoretical outlook changed? Posted on my "real" blog rather than my Tumblr scratchpad, not only because that was where the original discussion of the piece was, but also because it summarizes a number of general insights and evolutions of viewpoint that I have experienced since then.

On the other hand, Schumann uses harmony to portray the unsteadiness and frustration that comes with love. New comments cannot be posted and votes cannot be cast, More posts from the musictheory community. You say that it's aesthetically preferable (which is subjective and vague, though that doesn't have to be a bad thing); but not really much more than that, as far as I can see, except when you rightly point out that it can be viewed as part of a G#-E#-C# arpeggiation. Here are some responses to specific passages. The very natural, almost hyper-sensitive poetical affections of the poems are mirrored in Schumann's settings, with their miniaturist chromaticism and suspensions.

Cookies help us deliver our Services. The poet's love is a hothouse of nuanced responses to the delicate language of flowers, dreams and fairy-tales.

Following the song-cycles of Franz Schubert (Die schöne Müllerin and Winterreise), those of Schumann constitute part of the central core of the genre in musical literature. ), I'm not even 100% sure what your alternative explanation of the G# is, to be honest. Change ), You are commenting using your Twitter account. Are you implying that retrospective contextualization doesn't happen, or is illegitimate? Schumann adapts the words of the poems to his needs for the songs, sometimes repeating phrases and often rewording a line to supply the desired cadence.

(And, in fact, you reference it later in your comment. ( Log Out /  Schumann’s In the lovely month of May is from which song cycle? if Schumann had written two successive f#”s, he would be faced here with an argument that he ought to have written g#”-f#” instead. I'm saying that's not a good objection, because even if technically true, the character of chord theory is such that you would never have thought to formulate that interpretation if you didn't already know about Schenkerian theory (hence, "peeking at your opponent's answers").

Coming up with an arpeggio and then elaborating it with a passing tone makes more intuitive sense than coming up with f#''-e#-c#'' and then deciding to elaborate f#'' with an upper neighbor because you're also going to elaborate a bunch of other things with upper neighbors later. By using our Services or clicking I agree, you agree to our use of cookies. Prerequisites: This is a post about Schenkerian and Westergaardian theory, so some kind of interest in these topics is a must. We'll see if anything I said in this comment helps to clarify, and if that makes the rest of the essay any more accessible. If a# is a neighbor to b, then b must be “part of the chord”! a. strophic c. through-composed b. modified strophic d. rondeau ANS: A DIF: Medium REF: 210 TOP: Schumann song MSC: Applied 30. B can be a harmonic tone at one level, and an embellishing tone at another. Schubert's selection of lyrics for his own Heine songs had sought different themes. Which, one cannot help noticing, is what he actually wrote. Heine's Lyrisches Intermezzo consists of a verse Prologue and 65 poems. Another look at a piece I analyzed a year ago. Playing via Spotify Playing via YouTube.


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