國立中山大學學位論文典藏.PDF

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2 Abstract From early nineteen-century, because the changing society and the rising new thoughts, both promote the artists to search for the most suitable way to create their works in order to express individual idea. The combinations of different types of art become the major creations in this time. For the same reason, composers make the new development in form and content of their music. One of the most common ways is the combination of music and literature. From the personal diary, letters, and articles writing of Schumann, we

The combinations of different types of art become the major creations in this time.

3 find that contents and compositional technique of music always integrate the features of German literary author Jean Paul. This research concentrate on the piano piece Papillons, which Schumann linked it to the novel Flegeljahre of Jean Paul many times. Attempts will make to explain how Schumann uses the techniques of Jean Paul s writing into his own music. This research includes three chapters. The first chapter introduces the life and literary thinking of Jean Paul, describe how he rise in the German literary circles, and his ideology and writing style. The second chapter presents the literary background of Schumann, the influence of contemporary thoughts, and the inspiration and influence from Jean Paul. The last chapter should analyze the relationship between Jean Paul s novel Flegeljahre and Schumann s Papillons, to observe how the literary ideas expressed by music.

Attempts will make to explain how Schumann uses the techniques of Jean Paul s writing into his own music. This research includes three chapters.

5 (Shakespeare) (Byron) (Heine) (Rckert) 1 (Jean Paul) 2 3 (Flechsig) 4 1 (Friedrich Rckert, ) (Philologist) 2 John Daverio, Robert Schumann: Herald of a New Poetic Age (Oxford: Oxford University Press, 1997), (Jean Paul, Johann Paul Friedrich Richter, ) 4 In Leipzig he never entered a lecture hall. But there was always the newest literature: Heine s travel essays, Menzel s German history, and especially a great deal of Jean Paul, whose style and manner he unfortunately imitated too much in his own writing which he practiced several hours every day. Leon Plantinga, Romantic Music (New York: 1

3 (Jean Paul, Johann Paul Friedrich Richter, 1763-1825) 4 In Leipzig he never entered a lecture hall.

6 Norton, 1984), (Tim Dowley) ( 1995 )8 6 (1827) 7 (Juniusabende und Juliatage) (Hottentottiana) 8 I often ask myself what would have become of me if I had never known Jean Paul in one respect at any rate he seems to have an affinity with me, for I foresaw him. Perhaps I would have written the same kind of poetry but I would have withdrawn myself less from other people and dreamt less. I cannot decide, really, what would have become of me, the problem in impossible to work out. Robert L. Jacobs, Schumann and Jean Paul. Music & Letters xxx, no. 1(January, 1949),

known Jean Paul in one respect at any rate he seems to have an affinity with me, for I foresaw him.

7 (Papillons, op. 2) 3

8 ( ) (Graun) 9 (Hasse) (Gluck) (Die unsichtbare Loge) (Hesperus) (Des Quintus Fixlein Leben) (Der Armenadvokat Siebenkäs) (Titan) (Flegeljahre) (Fichte) 12 (Schlegel) 13 (Tieck) 14 9 Johann Gottlieb Graun (1702/3-1771) 10 Johann Adolf Hasse ( ) (offertories) (psalms) (antiphons) (hymns) 11 The New Grove Dictionary of Music and Musicians (2003, online), S. v. Richter, Johann Paul Friedrich (Jean Paul), by John Daverio. 12 Fichte Johann Gottlieb ( ) (Grundlage der gesamten Wissenschaftslehre, 1794) 4

(offertories) (psalms) (antiphons) (hymns) 11 The New Grove Dictionary of Music and Musicians (2003, online), S. v.

9 (Schleiermacher) 15 (Bayreuth) 16 (Prince Dalberg) 17 (Vorschule der Ästhetik, 1804) 18 (Levana, 1807) 13 Friedrich von Schlegel ( ) (Lucinde, 1799) 14 Ludwig Tieck ( ) 15 Friedrich Schleiermacher ( ) Karl Theodor von Dalberg 18 RenWellek, A History of Modern Criticism Vol. 2 The Romantic Age (Cambridge: Cambridge University Press, 1981),

Friedrich Schleiermacher (1768-1837) 16 17 Karl Theodor von Dalberg 18 RenWellek, A History of

10 ( ) ( ) ( ) ( ) (Herder) The New Grove Dictionary of Music and Musicians (2003, online), S. v. Richter, Johann Paul Friedrich (Jean Paul), by John Daverio (1993) Johann Gottfried von Herder ( ) 22 Music without words places us in a region of obscure ideas: it awakens emotions, for each in his own way, lacking words, find no guidepost and leader in the stream, or in the flood. Thomas Alan Brown, The Aesthetics of Robert Schumann (Westport: Greenwood Press, 1975), 12. 6

20 11(1993)142 21 Johann Gottfried von Herder (1744-1803) 22 Music without words places us in a region of obscure ideas: it

11 23 24 (particular) (general) Brown, Ibid. 25 Art should be the union of the particular and the general. Wellek,

12 26 27 (Loerke) (George) 30 (Hofmannsthal) The New Grove Dictionary of Music and Musicians (2003, online), S. v. Richter, Johann Paul Friedrich (Jean Paul), by John Daverio Oskar Loerke 29 Frank G. Ryder and Robert M. Browning, ed., German Romantic Novellas: Heinrich von Kleist and Jean Paul (New York: Continuum, 1985), viii. 30 Stefan George ( ) 31 Hugo von Hofmannsthal ( ) The First morning of summer heaped around him the bridal finery of the earth, it 8

Browning, ed., German Romantic Novellas: Heinrich von Kleist and Jean Paul (New York: Continuum, 1985), viii.

13 34 35 Leben der Vergngten Schulmeisterlein Maria Wuz ( ) lined the fields with peal-banks of dew, and flung over the burrowing brooks the gold tinsel and spangles of the desending flush of moen, and hung upon the bushes the bracelets of burning drops. Eric Frederick Jensen, Explicating Jean Paul: Robert Schumann s Program for Papillons, Op th Century Music xxii, no. 2(Fall, 1998), Frank G. Ryder and Robert M. Browning, ed., x. 35 A kind of laughter which contains pain and greatness. John Daverio, Reading Schumann By Way of Jean Paul and His Contemporaries. College Music Symposium xxx, no. 2(1990),

Eric Frederick Jensen, Explicating Jean Paul: Robert Schumann s Program for Papillons, Op.2. 19 th Century Music xxii, no. 2(Fall, 1998), 130. 34 Frank G.

14 Albano (Roquairol) (Leibgeber) Walt Vult Beppo Childe Harold (August Scumann, ) ( 2001 )63 40 (Tim Dowley)2 10

15 42 Wackenroder E. T. A. Hoffman (Tim Dowley) Robert Schumann, On Music and Musicians. Konrad Wolff, Trans. Paul Rosenfeld, ed. (Berkeley: University of California Press, 1983), Plantinga,

16 (Thibaut) 45 (Hegel) (Schopenhauer) (Phantasien über die Kunst, für Freunde der Kunst, 1799) (spirits) Über Reinheit der Tonkunst 45 Anton Friedrich Justus Thibaut ( ) 46 Brown, Brown, 16 The New Grove Dictionary of Music and Musicians (2003, online), S. v. Wackenroder, Wilhelm Heinrich, by Peter Branscombe. 12

17 Brown, The New Grove Dictionary of Music and Musicians (2003, online), S. v. Thibaut, Anton Friedrich Justus, by Richard D. Green () ( 2001 ) (Philistine) (Philistia) Philistine The New Grove Dictionary of Music and Musicians (2003, online), S. v. Hoffmann, Ernst Theodor Amadeus (Ernst Theodor Willhelm), by Gerhard Allroggen. 52 Brown,

49 400 () ( 2001 )226 50 (Philistine) (Philistia) Philistine 51 146 The New Grove Dictionary of

18 53 54 (Idea) 55 (Will) 53 Brown, Ibid., Plantinga,

19 56 57 ( ) Get Titan from the nearest library so that we can discuss it together, You will thank me when you have read it. Jensen, Jensen, Ibid., Jensen (Jensen, 129) 15

will thank me when you have read it. Jensen, 128.

20 (Jensen) 64 Abegg Variation ( ) 60 Jensen (Ibid.) 61 Schumann, Brown, Jensen,

21 (Carnaval) (Sphinxes) 68 (Dr. Fenk) 69 (Florestan) 70 (Promenade) 65 Pauline von Abegg Meta Abegg (Joan Chissell) 1997) () ( 2001 ) ABEGG A-B-E-G-G ( B B b ) ) Daverio, (Grossvatertanz) 17

22 (Presto) Andante 74 ( ) 71 Daverio, Humor as inverse sublimity. Jensen, Jensen, Only contrast can create comic effects. Ibid. 18

23 75 76 Rellstab 78 Voigt The New Grove Dictionary of Music and Musicians (2001), S. v. Schumann, Robert, by John Daverio. 76 Please ask all of them to be kind as to read the final scene of Jean Paul s Flegeljahre as soon as possible, for the Papillons are actually meant to transform this masked ball into notes. Robert Schumann, Papillons, op. 2. Ed. Ernst Herttrich (Mnchen: G. Henle Verlag, 2002) 77 Ludwig Rellstab ( ) 78 I kept on turning over the last page, for the end seemed like a new beginning almost unconsciously I went to the piano, and so one Papillon after another appeared. Jacobs,

24 If you have s spare moment, I pray you read the last chapter of Flegeljahre, where everything is there in black and white even to the giant s boot in F sharp minor (at the end of Flegeljahre, I feel as if the play were concluded, but as if the curtain did not drop), I say again that I set the words to music, not the reverse. Only the ending, while playful coincidence formed as an answer to the beginning, was awakened by Jean Paul. Brown, In many a sleepless nights I saw a distant picture like a goalwhile writing down Papillons, I really feel how a certain independence tends to develop itself, which, however, the critic usually reject.now the butterflies flutter in the wide heavenly world of spring, spring itself is at the door and looks at mea child with heavenly blue eyesand now I begin to understand my existencethe silence is broken. Brown, Daverio,

25 Der Larventanz ( Larve ) Der Larventanz Let all that is marvelous fly neither as a bird of the day nor as one of the night, but a butterfly at twilight. Jensen, Jensen, Believed himself to be flying after a summer aflutter with butterflies. Daverio, (Brown, 170) 87 Carolyn Maxwell and William DeVan, ed., Schumann Solo Piano Literature (Boulder: Maxwell Music Evaluation, 1984), Daverio,

26 (Wina) origins Jacobs, Daverio, 83 Edward A. Lippman, Theory and Practice in Schumann s Aesthetics. Journal of the American Musicological Society xvii(1964), Robert Schumann, Papillons, op. 2. Ed. Ernst Herttrich. Mnchen: G. Henle Verlag,

27 ( 1994 ) 23

30 D D F # D b B b (F # ) (B b ) D A b D D E b -A b f # f # B b d f-a b c # -D b b b C D D (Lippman) 26

31 98 Sechs Walzer (Eight Polonaises) 99 (Kaminsky) (cross reference) 100 1a 1b 1(a) 1-6 (b) (a) 98 Lippman, Ibid., Peter Kaminsky, Principles of Formal Structure in Schumann s Early Piano Cycles. Music Theory Spectrum 11, no. 2(Fall, 1989),

32 (b) 2a) 2b) 3a) 3b) 2(a) 1-2 (b) 7-8 (a) 28

33 (b) 3(a) 9-16 (b) 9-16 (a) (b) 4a) 4b) 4c) 29

34 4(a) 1-8 (b) 1-8 (c) (a) (b) (c) ( 2b) ( 5a) ( 5b) 30

35 5(a) 7-14 (b) (a) (b) ( 4b) (Grossvatertanz) (Schubring) Adolf Schubring R. Larry Todd, On Quotation in Schumann s Music. Schumann and His World. Ed. R. Larry Todd (Princeton: Princeton University Press, 1994),

36 q q q q. q q q. q q. q.q q /8 3/4 3/8 3/4 102 Robert Schumann House in Zwichau (composer s personal copy) Biblio que nationale, Paris (autograph manuscript) 32

37 (Pi lento) (metrically displaced) ( 1a) f p 6 33

38 7 1-8 ( ) f 8 (a) 1-11 (b) (a) (b) 34

39 ( 9) ff p ( 10a) ff ( 10b)

40 10 (a) 1-30 (b) (a) (b) 36

41 ( 4a) 2/4 37

43 ( 8a) (a) (b) (a) 39

44 (b) ( 10a) ( 18a) Hemiloa ( 18b18c 18d) (22 18c 11) ( 4b) f 18 (a) 8-15 (b) 4-5 (c) (a) (d)

45 (b) (c) (d) ( ) ( 20) ( 21)

46 ( 10a) ( 10b) 42

47 Brown,

48 44

49 2001 (Joan Chissell) (1993): () () (Johann Gottlieb Fichte) Abraham, Gerald. Robert Schumann. Early Romantic Masters 1. Ed. Stanley Sadie. New York: Norton, Brown, Thomas Alan. The Aesthetics of Robert Schumann. Westport: Greenwood Press, Daverio, John. Robert Schumann: Herald of a New Poetic Age. Oxford: Oxford University Press, Reading Schumann By Way of Jean Paul and His Contemporaries. College Music Symposium xxx, no. 2(1990): Hadow, W. H. Schumann. From Bach to Stravinsky. Ed. David Ewen. New York: Norton, Jacobs, Robert L. Schumann and Jean Paul. Music & Letters xxx, no. 1(January, 1949): Jensen, Eric Frederick. Explicating Jean Paul: Robert Schumann s Program 45

50 for Papillons, Op th Century Music xxii, no. 2(Fall, 1998): Kaminsky, Peter. Principles of Formal Structure in Schumann s Early Piano Cycles. Music Theory Spectrum 11, no. 2(Fall, 1989). Maxwell, Carolyn and William DeVan, ed. Schumann Solo Piano Literature. Boulder: Maxwell Music Evaluation, Lippman, Edward A. Theory and Practice in Schumann s Aesthetics. Journal of the American Musicological Society xvii(1964): Newcomb, Anthony. Schumann and the Marketplace: From Butterflies to Hausmusik. Nineteenth-Century Piano Music. Ed. R. Larry Todd. New York: Schirmer Books, Plantinga, Leon. Romantic Music. New York: Norton, Ryder, Frank G. and Robert M. Browning, ed. German Romantic Novellas: Heinrich von Kleist and Jean Paul. New York: Continuum, Schumann, Robert. On Music and Musicians. Ed. Konrad Wolff, Trans. Paul Rosenfeld. Berkeley: University of California Press, The New Grove Dictionary of Music and Musicians (2003, online). S. v. Richter, Johann Paul Friedrich (Jean Paul), by John Daverio. The New Grove Dictionary of Music and Musicians (2003, online). S. v. Wackenroder, Wilhelm Heinrich, by Peter Branscombe. The New Grove Dictionary of Music and Musicians (2003, online). S. v. Thibaut, Anton Friedrich Justus, by Richard D. Green. The New Grove Dictionary of Music and Musicians (2003, online). S. v. Hoffmann, Ernst Theodor Amadeus (Ernst Theodor Willhelm), by Gerhard Allroggen. The New Grove Dictionary of Music and Musicians (2001). S. v. Schumann, Robert, by John Daverio. Todd, R. Larry. On Quotation in Schumann s Music. Schumann and His World. Ed. R. Larry Todd. Princeton: Princeton University Press, Wellek, Ren. A History of Modern Criticism Vol. 2 The Romantic Age. Cambridge: Cambridge University Press, Schumann, Robert. Papillons, op. 2. Ed. Ernst Herttrich. Mnchen: G. Henle Verlag, Davidsbndlertänze, op.6. and Carnaval, op.9. Klavierwerke. Band II. Taipei: Chuan-yin Piano Library. 46

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