Select bibliography
Agawu, V. K., “Structural ‘Highpoints’ in Schumann’s Dichterliebe,” Music Analysis 3 (1984), pp. 159–180
Agawu, V. K., “Theory and Practice in the Analysis of the Nineteenth-Century Lied,” Music Analysis 11 (1992), pp. 3–36
Agawu, V. K., “Ambiguity in Tonal Music: A Preliminary Study,” in Theory, Analysis and Meaning in Music, ed. Pople, A., Cambridge University Press, 1994, pp. 86–107
Agawu, V. K., Music as Discourse: Semiotic Adventures in Romantic Music, Oxford University Press, 2009
Appel, B. R., Robert Schumanns “Album für die Jugend”: Einführung und Kommentar, Atlantis Musikbuch-Verlag, 1998; Mainz: Schott, 2010
Appel, B. R., Vom Einfall zum Werk: Robert Schumanns Schaffensweise, Mainz: Schott, 2010
Bahr, R., “‘Dreiklang = Zeiten. Terz vermittelt Vergangenheit und Zukunft als Gegenwart’: Kadenzharmonik bei Robert Schumann und Moritz Hauptmanns harmonische Dialektik,” in Musiktheorie im Kontext: 5. Kongress der Gesellschaft für Musiktheorie, Hamburg 2005, ed. Sprick, J. P., Bahr, R., and von Troschke, M., Berlin: Wiedler Buchverlag, 2008, pp. 275–288
Bak, C.-Y., “An Eclectic Analysis and Performance Guide of Robert Schumann’s First Two Violin Sonatas, Opus 105 in A and Opus 121 in D,” Ph.D. diss., New York University, 2000
Bartoli, J.-P., L’harmonie classique et romantique (1750–1900): Éléments et évolution, Paris: Minerve, 2001
Bischoff, B., “Robert Schumanns Klaviertrio g-Moll op. 110: Einstehung – Rezeption – Analyse,” in Schumann in Düsseldorf: Werke-Texte-Interpretationen: Bericht über das 3. Internationale Schumann-Symposion am 15. und 16. Juni 1988 im Rahmen des 3. Schumann-Festes, Düsseldorf, ed. Appel, B. R., Mainz: Schott, 1993, pp. 221–248
Burkhart, C., “Departures from the Norm in Two Songs from Schumann’s Liederkreis,” in Schenker Studies, ed. Siegel, H., Cambridge University Press, 1990, pp. 146–164
Burstein, L. P., “Unraveling Schenker’s Concept of the Auxiliary Cadence,” Music Theory Spectrum 27 (2005), pp. 159–185
Cadwallader, A., “Form and Tonal Process: The Design of Different Structural Levels,” in Trends in Schenkerian Research, ed. Cadwallader, A., New York: Schirmer Books, 1990, pp. 1–21
Carey, N., “An Improbable Intertwining: An Analysis of Schumann’s Kreisleriana I and II, with Recommendations for Piano Practice,” Theory and Practice 32 (2007), pp. 19–50
Dommel-Diény, A., L’analyse harmonique en exemples de J.-S. Bach à Debussy: Contribution à une recherche de l’interprétation: Schumann, Paris: Éditions Delachaux & Niestlé, 1967
Elias, A., “Zwei Klavierstücke aus Schumanns ‘Album für die Jugend’,” Der Dreiklang: Monatsschrift für Musik 7 (1937), pp. 161–164
Ferris, D., Schumann’s Eichendorff Liederkreis and the Genre of the Romantic Cycle, Oxford University Press, 2000
Ferris, D., “‘Was will dieses Grau’n bedeuten?’: Schumann’s ‘Zwielicht’ and Daverio’s ‘Incomprehensibility Topos’,” The Journal of Musicology 22 (2005), pp. 131–153
Finson, J. W., Robert Schumann: The Book of Songs, Cambridge, MA: Harvard University Press, 2007
Forte, A., “Schenker’s Conception of Musical Structure,” Journal of Music Theory 3 (1959), pp. 1–30; reprinted in Readings in Schenker Analysis and Other Approaches, ed. M. Yeston, New Haven: Yale University Press, 1977, pp. 3–37
Goldenberg, Y., “‘Negative Texture’ and the Prolongation of Seventh Chords,” Theory and Practice 29 (2004), pp. 95–123
Goldenberg, Y., Prolongation of Seventh Chords in Tonal Music, 2 vols., Lewiston, NY: Mellen, 2008
Hatten, R. S., “Performing Expressive Closure in Structurally Open Contexts: Chopin’s Prelude in A minor and the Last Two Dances of Schumann’s Davidsbündlertänze,” Music Theory Online 20/4 (2014)
Hoeckner, B., “Paths through Dichterliebe,” 19th-Century Music 30 (2006–2007), pp. 65–80
Hunt, G., “‘How Much is Enough?’: Structural and Formal Ramifications of the Abbreviated Second A Section in Rondo Finales from Haydn to Brahms,” Journal of Schenkerian Studies 8 (2014), pp. 1–48
Kaminsky, P. M., “Aspects of Harmony, Rhythm and Form in Schumann’s Papillons, Carnaval and Davidsbündlertänze,” Ph.D. diss., University of Rochester, 1989
Kaminsky, P. M., “Principles of Formal Structure in Schumann’s Early Piano Cycles,” Music Theory Spectrum 11 (1989), pp. 207–225
Komar, A., “The Music of Dichterliebe: The Whole and Its Parts,” in Dichterliebe, by Schumann, R., ed. Komar, A., New York: W. W. Norton, 1971, pp. 63–94
Kopp, D., Chromatic Transformations in Nineteenth-Century Music, Cambridge University Press, 2002
Kopp, D., “Intermediate States of Key in Schumann,” in Rethinking Schumann, ed. Kok, R.-M. and Tunbridge, L., Oxford University Press, 2011, pp. 300–325
Krebs, H., Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann, Oxford University Press, 1999
Krebs, H., “Sentences in the Lieder of Robert Schumann: The Relation to the Text,” in Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno, ed. Vande Moortele, S., Pedneault-Deslauriers, J., and Martin, N. J., University of Rochester Press, 2015, pp. 225–251
Krummacher, F., “Zur Kompositionsart Mendelssohns: Thesen am Beispiel der Streichquartette,” in Das Problem Mendelssohn, ed. Dahlhaus, C., Regensburg: Bosse, 1974, pp. 169–184; as “On Mendelssohn’s Compositional Style: Propositions Based on the Example of the String Quartets,” trans. D. Seaton, in The Mendelssohn Companion, ed. D. Seaton, Westport, CT: Greenwood Press, 2001, pp. 551–568
Krummacher, F., Mendelssohn der Komponist: Studien zur Kammermusik für Streicher, Munich: Wilhelm Fink, 1978
Laufer, E., “Voice-Leading Procedures in Development Sections,” Studies in Music from The University of Western Ontario 13 (1991), pp. 69–120
Lerdahl, F., Tonal Pitch Space, Oxford University Press, 2001
Lester, J., “Substance and Illusion in Schumann’s ‘Erinnerung,’ Op. 68: A Structural Analysis and Pictorial (geistliche) Description,” In Theory Only 4 (1978), pp. 9–17
Lester, J., “Robert Schumann and Sonata Forms,” 19th-Century Music 18 (1994–1995), pp. 189–210
Lewin, D., Studies in Music with Text, Oxford University Press, 2006
Malin, Y., “Review of Schumann’s Dichterliebe and Early Romantic Poetics: Fragmentation of Desire by Beate Julia Perrey,” Music Theory Spectrum 28 (2006), pp. 299–310
Marston, N., Schumann, Fantasie, Op. 17, Cambridge University Press, 1992
Marston, N., “Schumann’s ‘Gesänge der Frühe’, op. 133: A ‘False Dawn’?,” in “Le ultime opera di Robert Schumann: Analisi dei Gesänge der Frühe per pianoforte op. 133 (1853),” ed. Rostagno, A., Rivista di analisi e teoria musicale 16/2 (2010), pp. 29–49
Martin, N. J., “Schumann’s Fragment,” Indiana Theory Review 28 (2010), pp. 85–109
McCreless, P., “Song Order in the Song Cycle: Schumann’s Liederkreis, op. 39,” Music Analysis 5 (1986), pp. 5–28
Meeùs, N., “Robert Schumann: Quatre Lieder du Dichterliebe op. 48,” Analyse musicale 21 (1990), pp. 23–35
Michaelsen, R., Der komponierte Zweifel: Robert Schumann und die Selbstreflexion in der Musik, Paderborn: Wilhelm Fink, 2015
Morgan, R. P., “Dissonant Prolongation Again: Nontonic Extensions in Nineteenth-Century Music,” Journal of Music Theory 60 (2016), pp. 1–21
Moßburger, H., Poetische Harmonik in der Musik Robert Schumanns, Sinzig: Studio Verlag, 2005
Moßburger, H., “Poetische Harmonik,” in Schumann Handbuch, ed. Tadday, U., Stuttgart: Metzler, 2006, pp. 194–211
Moßburger, H., “Robert Schumanns frühe und späte Fantasien,” in Der späte Schumann, ed. Tadday, U., Munich: Boorberg, 2006, pp. 51–67.
Moßburger, H., Ästhetische Harmonielehre: Quellen, Analysen, Aufgaben, 2 vols., Wilhelmshaven: Florian Noetzel Verlag, 2012
Neumeyer, D., “Organic Structure and the Song Cycle: Another Look at Schumann’s Dichterliebe,” Music Theory Spectrum 4 (1982), pp. 92–105
Neumeyer, D., “Synthesis and Association, Structure, and Design in Multi-Movement Compositions,” in Music Theory in Concept and Practice, ed., Baker, J. M., Beach, D. W., and Bernard, J. W., University of Rochester Press, 1997, pp. 197–216
Oinas, C., “Toward a Performer-Oriented Analysis: Communication between Analysis and Performance in Schumann’s D-minor Piano Trio,” Res musica 3 (2011), pp. 134–145
Perrey, B. J., Schumann’s Dichterliebe and Early Romantic Poetics: Fragmentation of Desire, Cambridge University Press, 2002
Ponce, A., “Form, Diversity, and Lack of Fulfillment in the First Movement of Schumann’s Fantasie op. 17,” Music Theory Online 20/3 (2014)
Pousseur, H., Schumann, le poète: Vingt-cinq moments d’une lecture de Dichterliebe, Paris: Méridiens Klincksieck, 1993
Pousseur, H., “Schumann ist der Dichter,” Intersections: Canadian Journal of Music 25 (2005), pp. 7–22
Rapoport, E., Mendelssohn’s Instrumental Music: Structure and Style, Hillsdale, NY: Pendragon Press, 2012
Reiman, E., Schumann’s Piano Cycles and the Novels of Jean Paul, University of Rochester Press, 2004
Reti, R., The Thematic Process in Music, New York: Macmillan, 1951
Reynolds, C. A., Motives for Allusion: Context and Content in Nineteenth-Century Music, Cambridge, MA: Harvard University Press, 2003
Roesner, L. C., “Schumanns ‘Parallel’ Forms,” 19th-Century Music 14 (1990–1991), pp. 265–278
Rosen, C., The Romantic Generation, Cambridge, MA: Harvard University Press, 1995
Rothgeb, J., “A Structural Function of Dynamics in Schumann’s ‘Ich grolle nicht’,” In Theory Only 5/2 (1979), pp. 15–17
Rothstein, W., Phrase Rhythm in Tonal Music, New York: Schirmer Books, 1989
Salzer, F., Structural Hearing: Tonal Coherence in Music, 2 vols., New York: Boni, 1952; reprint edn, New York: Dover, 1962
Schachter, C., “Rhythm and Linear Analysis: Aspects of Meter,” Music Forum 6/1 (1987), pp. 1–59; reprinted in Unfoldings: Essays in Schenkerian Theory and Analysis, ed. J. N. Straus, Oxford University Press, 1999, pp. 79–117
Schachter, C., “The Triad as Place and Action,” Music Theory Spectrum 17 (1995), pp. 149–169; reprinted in Unfoldings: Essays in Schenkerian Theory and Analysis, ed. J. N. Straus, Oxford University Press, 1999, pp. 161–183
Schachter, C., “Che Inganno! The Analysis of Deceptive Cadences,” in Essays from the Third International Schenker Symposium, ed. Cadwallader, A., Hildesheim: Georg Olms, 2006, pp. 279–298
Schenker, H., Der Tonwille: Flugblätter zum Zeugnis unwandelbarer Gesetze der Tonkunst, einer neuen Jugend dargebracht, 2 vols., Vienna: A. J. Gutmann, Leipzig: F. Hofmeister, 1921–1924; as Der Tonwille: Pamphlets in Witness of the Immutable Laws of Music, Offered to a New Generation of Youth, ed. W. Drabkin, trans. I. Bent et al., Oxford University Press, 2004–2005
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Smith, P. H., “Harmonies Heard from Afar: Tonal Pairing, Formal Design, and Cyclical Integration in Schumann’s A-minor Violin Sonata, op. 105,” Theory and Practice 34 (2009), pp. 47–86
Smith, P. H., “Associative Harmony, Tonal Pairing, and Middleground Structure in Schumann’s Sonata Expositions: The Role of the Mediant in the First Movements of the Piano Quintet, Piano Quartet, and Rhenish Symphony,” in Rethinking Schumann, ed. Kok, R.-M. and Tunbridge, L., Oxford University Press, 2011, pp. 235–264
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