Piano Music of Robert Schumann, ed. Schumann, Clara, 3 vols. (Dover, New York, 1972 and 1980) (reproduced from the Breitkopf & Härtel edition of 1879–87).Google Scholar

Schumann, Robert, Carnaval Opus 9, ed. Herttrich, Ernst (G. Henle, Munich, 2004).Google Scholar

Schumann, Robert, Fantasiestücke Opus 12, ed. Herttrich, Ernst (G. Henle, Munich, 2004).Google Scholar

Schumann, Robert, Humoreske Opus 20, ed. Köhler, Hans Joachim (C. F. Peters, Leipzig, 1981).Google Scholar

Schumann, Robert, Kreisleriana Opus 16, ed. Herttrich, Ernst (G. Henle, Munich, 2004).Google Scholar

Schumann, Robert, Nachtstücke Opus 23, ed. Herttrich, Ernst (G. Henle, Munich, 2008).Google Scholar

Schumann Briefedition, multiple vols. (Robert-Schumann-Haus Zwickau, Dohr, Cologne), of which:Google Scholar

Schumann, Clara and Robert, , Briefwechsel: Kritische Gesamtausgabe, ed. Weissweiler, Eva, 3 vols. (Stroemfeld/Roter Stern, Basel and Frankfurt, 1984–2001).Google Scholar

Schumann, Robert, Dichtergarten für Musik. Eine Anthologie für Freunde der Literatur und Musik, ed. Nauhaus, Gerd and Brodsch, Ingrid (Stadtmuseum Bonn and Stroemfeld, Frankfurt and Basel, 2007).Google Scholar

Erler, Hermann, Robert Schumann’s Leben aus seinem Briefen geschildert, 2 vols. in 1 (Ries and Erler, Berlin, 1887).Google Scholar

Schumann, Robert, Gesammelte Schriften über Musik und Musiker von Robert Schumann, 5th edn, 2 vols., ed. Kreisig, Martin (Breitkopf & Härtel, Leipzig, 1914).Google Scholar

Schumann, Robert, Jugendbriefe, ed. Schumann, Clara, 2nd edn (Breitkopf & Härtel, Leipzig, 1886).Google Scholar

Hotaki, Leander, Robert Schumanns Mottosammlung. Übertragung, Kommentar, Einführung (Rombach, Freiburg im Breisgau, 1998).Google Scholar

Schumann, Robert, Briefe, Neue Folge, ed. Jansen, Gustav, 2nd edn (Breitkopf & Härtel, Leipzig, 1904).Google Scholar

Schumann, Robert, Tagebücher, ed. Eisman, Georg and Nauhaus, Gerd, 3 vols. (Stroemfeld/Roter Stern, Basel and Frankfurt, 1971–87).Google Scholar

Schumann, Robert, Letter to Emilie Schumann, Leipzig, 15 July 1835, Robert-Schumann-Haus Zwickau, 280 A-2.Google Scholar

Hoffmann, E. T. A., Nachtstücke, ed. Kaiser, Gerhard R. (Reclam, Stuttgart, 1990).Google Scholar

Hoffmann, E. T. A., Sämtliche Werke, ed. Müller-Seidel, W. and Segebrecht, W. (Winkler, Munich, 1960–5), of which:Google Scholar

Hoffmann, E. T. A., Späte Werke (1965).Google Scholar

Hoffmann, E. T. A., Elixiere des Teufels / Kater Murr (1961).Google Scholar

Hoffmann, E. T. A., Fantasie- und Nachtstücke (1960).Google Scholar

Hoffmann, E. T. A., Schriften zur Musik. Nachlese (1963).Google Scholar

Hoffmann, E. T. A., Die Serapions-Brüder (1963).Google Scholar

Aristotle, , The ‘Poetics’ of Aristotle, ed. Butcher, S. H. (Macmillan, London, 1929).Google Scholar

Augustine, , (Saint), Confessions, trans. Pine-Coffin, R. S. (Penguin Books, Harmondsworth, 1961).Google Scholar

Augustine, , (Saint), On Christian Teaching, trans. Green, R. P. H. (Oxford University Press, 1999).Google Scholar

Augustine, , (Saint), Tractatus in Ioannis Evangelium CXXIV, ed. Willens, Radbodus (Brepols, Turnhout, 1954).Google Scholar

Becker, Julius, Der Neuromantiker. Musikalischer Roman (J. J. Weber, Leipzig, 1840).Google Scholar

Bonaventura: see under Nachtwachen von Bonaventura below.Google Scholar

Brendel, Franz, ‘Die Neuromantiker. Musikalischer Roman von Julius Becker’, Neue Zeitschrift für Musik, 11 (1839), 190–2.Google Scholar

Brendel, Franz, ‘Robert Schumann mit Rücksicht auf Mendelssohn-Bartholdy und die Entwicklung der modernen Tonkunst überhaupt’, Neue Zeitschrift für Musik, 22 (1845), 63–7; 81–3; 89–92; 113–16; 121–3; 145–7 and 149–50.Google Scholar

Coleridge, Samuel Taylor, Poetical Works, ed. Coleridge, Ernest Hartley (Oxford University Press, London, New York and Toronto, 1967).Google Scholar

Freud, Sigmund, ‘Beyond the Pleasure Principle’, in Phillips, Adam (ed.), The Penguin Freud Reader (Penguin, Harmondsworth, 2006), 132–95.Google Scholar

Freud, Sigmund, ‘Das Unheimliche’, in Mitscherlich, Alexander (ed.), Sigmund Freud: Studienausgabe, IV (Frankfurt, 1970), 241–74.Google Scholar

Goethe, Johann Wolfgang, Werke (Winkler, Munich), 6 vols., of which:Google Scholar

Gozzi, Carlo, Five Tales for the Theatre, ed. and trans. Bremel, Albert and Emery, Ted (University of Chicago Press, 1989).Google Scholar

Griepenkerl, Friedrich, ‘Musikalisches Leben in Braunschweig’, Neue Zeitschrift für Musik, 6 (1837), 17, 70.Google Scholar

Heine, Heinrich, ‘Die romantische Schule’, in Windfuhr, Manfred (ed.), Historisch-kritische Gesamtausgabe der Werke, vol. VIII/1 (Hoffmann and Campe, Hamburg, 1979).Google Scholar

Heinse, Wilhelm, Ardinghello und die Glückseligen Inseln (Insel Verlag, Leipzig, 1962).Google Scholar

Hölderlin, Friedrich, Hyperion (Bibliothek der Erstausgaben, dtv, Munich, 2005).Google Scholar

Hölderlin, Friedrich, ‘Urteil und Sein’, in Beißner, Friedrich (ed.), Sämtliche Werke. Stuttgarter Hölderlin-Ausgabe, vol. IV (Stuttgart, 1961).Google Scholar

Homer, , Iliad, ed. Leaf, Walter and Bayfield, M.A. (Macmillan, London, 1965), vol. I.Google Scholar

Homer, , Odyssey, ed. Murray, A.T. (Heinemann, London, 1919).Google Scholar

Paul, Jean, Flegeljahre, eine Biographie, ed. Koebner, Thomas (Reclam, Stuttgart, 1994).Google Scholar

Paul, Jean, Kleine Nachschule zur Ästhetischen Vorschule, in Vorschule der Ästhetik (see below).Google Scholar

Paul, Jean, Die unsichtbare Loge, ed. Miller, Norbert (Piper, Munich and Zürich, 1986).Google Scholar

Paul, Jean, Vorschule der Ästhetik; Kleine Nachschule zur Ästhetischen Vorschule, ed. Miller, Norbert (Hanser, Munich, 1963) [contains Vorschule der Ästhetik, Nebst einigen Vorlesungen in Leipzig über die Parteien der Zeit (2nd edn of 1813) and Kleine Nachschule of 1825].Google Scholar

Kahlert, August, ‘Die Genrebilder in der Modernen Musik’, Neue Zeitschrift für Musik, 2 (1835), 189 ff.Google Scholar

Kahlert, August, ‘Recensionen’, Cäcilia, 66 (1835), 106–15.Google Scholar

Kapp, Julius, ed., Gesammelte Schriften von Franz Liszt (Breitkopf & Härtel, Leipzig, 1910).Google Scholar

Koßmaly, Carl, ‘Ueber Robert Schumann’s Claviercompositionen’, Allgemeine musikalische Zeitung (Leipzig), 1–3 (1844), 1–5, 17–21, 33–7.Google Scholar

Liszt, Franz, ‘Compositions pour piano de M. Robert Schumann’, Revue et Gazette Musicale de Paris (1837), 488–90.Google Scholar

Liszt, Franz, ‘Franz Liszt über Robert Schumann’, Literatur und Kunstblatt zur Zeitschrift, “Der Eisenbahn”, 16–17 (1840), 63–4, 67–8.Google Scholar

Liszt, Franz, ‘Robert Schumann’ (1855), in Kapp, Julius (ed.), Gesammelte Schriften von Franz Liszt (Breitkopf & Härtel, Leipzig, 1910), vol. IV, 166–243.Google Scholar

Marx, A. B., Musical Form in the Age of Beethoven: Selected Writings on Theory and Method, ed. Burnham, Scott (Cambridge University Press, 1997).Google Scholar

Michaelis, Christian Friedrich, ‘Einige Bemerkungen über das Erhabene der Musik’, in Berlinische musikalische Zeitung, herausgegeben von Johann Friedrich Reichardt, Zwei Jahrgänge in einem Band (Georg Olms, Hildesheim, 1969).Google Scholar

Michaelis, Christian Friedrich, ‘Nachtrag zu den vermischten Bemerkungen über Musik’, in Berlinische musikalische Zeitung, herausgegeben von Johann Friedrich Reichardt, Zwei Jahrgänge in einem Band (Georg Olms, Hildesheim, 1969).Google Scholar

Michaelis, Christian Friedrich, ‘Vermischte Bemerkungen über Musik’, in Berlinische musikalische Zeitung, herausgegeben von Johann Friedrich Reichardt, Zwei Jahrgänge in einem Band (Georg Olms, Hildesheim, 1969).Google Scholar

Moritz, Karl Philipp, Werke, ed. Günther, Horst (Insel Verlag, Frankfurt-am-Main, 1981), vol. I.Google Scholar

Moscheles, Ignaz, Charakteristische Studien für das Pianoforte, Opus 95 (Kistner, Leipzig, c. 1836).Google Scholar

Moscheles, Ignaz, ‘Pianoforte Sonate, Clara zugeeignet von Florestan und Eusebius, Op. XI’, Neue Zeitschrift für Musik, 5 (1836), 136.Google Scholar

Nachtwachen von Bonaventura, ed. Küpper, Peter (Wissenschaftliche Buchgesellschaft, Darmstadt, 2004).Google Scholar

Novalis, , Gesammelte Werke, ed. , H. and Kohlschmidt, W. (Sigbert Mohn Verlag, Gütersloh, 1967).Google Scholar

Novalis, , Notes for a Romantic Encyclopedia, ‘Das Allgemeine Brouillon’, ed. Wood, David W. (State University of New York Press, Albany, 2007).Google Scholar

Novalis, , Schriften, ed. Tieck, Ludwig and Schlegel, Friedrich, 2 vols. (G. Reimer, Berlin, 1837).Google Scholar

Novalis, , Schriften, ed. Tieck, Ludwig and von Bülow, Eduard, vol. III (G. Reimer, Berlin, 1846).Google Scholar

Novalis, , Schriften, I, Das Dichterische Werk, ed. Kluckhohn, Paul and Samuel, Richard (Kohlhammer, Stuttgart, 1960).Google Scholar

Novalis, , Schriften, II-III, Das Philosophische Werk, ed. Kluckhohn, Paul and Samuel, Richard (Kohlhammer, Stuttgart, 1960).Google Scholar

Novalis, , Schriften, IV, Tagebücher, Briefwechsel, Zeitgenössische Zeugnisse, ed. Samuel, Richard (Kohlhammer, Stuttgart, 1975).Google Scholar

Novalis, , Schriften, V, Materialien und Register, ed. Mähl, Hans-Joachim and Samuel, Richard (Kohlhammer, Stuttgart, 1988).Google Scholar

Ovid, , Metamorphoses, Books I–VIII, ed. Miller, Frank (Harvard University Press, Cambridge, Mass. and London, 1977).Google Scholar

Proust, Marcel, In Search of Lost Time. I: Swann’s Way, trans. Moncrieff, C. K. Scott and Kilmartin, Terence, rev. Enright, D. J. (Chatto and Windus, London, 1992).Google Scholar

Rellstab, Ludwig, review in Iris, 21 (25 May 1832), in Schumann, , Tagebücher, I 425.Google Scholar

Rousseau, Jean-Jacques, Oeuvres complètes, vol. III, Du contrat social; Écrits politiques, ed. Gagnebin, Bernard and Raymond, Marcel (Gallimard, Paris, 1964).Google Scholar

Schiller, Friedrich, Sämtliche Werke, ed. von Wiese, Benno and Koopmann, Helmut, vol. V, Philosophische Schriften, Vermischte Schriften (Winkler, Munich, 1968).Google Scholar

Schlegel, August Wilhelm, ‘Die Gemälde. Gespräch’, Athenaeum (Berlin), 2.1 (1799).Google Scholar

Schubring, Adolf, ‘Schumanniana No. 4’, Neue Zeitschrift für Musik, 54 (1861), 213.Google Scholar

Schütze, Stephan, ‘Über das Verhältnis der Komik zur Musik’, Cäcilia, 63 (1834), 197–205.Google Scholar

von Seyfried, Ignaz, ‘Schumann, Robert, Kreisleriana, Phantasie für Pianoforte, 16. Werk’, Allgemeine musikalischer Anzeiger, 29 (1840), 113–14.Google Scholar

Shakespeare, William, Complete Works, ed. Craig, W. J. (Oxford University Press, London, New York and Toronto, 1966).Google Scholar

Shakespeare, William, Shakespeare’s dramatische Werke, trans. Schlegel, A. W. and Eschenburg, J. J., 20 vols. (Vienna, 1811–12).Google Scholar

Shelley, Percy Bysshe, Shelley’s Poetry and Prose, Authoritative Texts and Criticism, ed. Reiman, Donald H. and Powers, Sharon B. (W. W. Norton, New York, London, 1977).Google Scholar

‘Stein, K.’ (pseud. of Gustav Adolph Keferstein), ‘Bemerkungen eines irrenden Theoretikers: sollen Musikstücken wirkliche Gedanken zum Grunde liegen?’, Cäcilia, 73 (1837), 14–44.Google Scholar

‘Stein, K.’ (pseud. of Gustav Adolph Keferstein), ‘Versuch über das Komische in der Musik’, Cäcilia, 60 (1833), 221–66.Google Scholar

Tieck, Ludwig, Die Märchen aus dem Phantasus. Dramen, ed. Thalmann, Marianne (Winkler, Munich, 1964).Google Scholar

Tieck, Ludwig, ‘Die Töne’, from ‘Phantasien über die Kunst für Freunde der Kunst’, in Berend, Eduard (ed.), Tiecks Werke (Deutsches Verlagshaus Bong, Berlin, 1908), vol. I.Google Scholar

Virgil, , Bucolica et Georgica, ed. Page, T. E. (Macmillan, London, 1968).Google Scholar

Wackenroder, Wilhelm Heinrich, and Tieck, Ludwig, Herzensergießungen eines Kunstliebenden Klosterbruders, together with Wackenroder’s contributions to the Phantasien über die Kunst für Freunde der Kunst, ed. Gillies, A. (Blackwell, Oxford, 1948), including:Google Scholar

Wackenroder, Wilhelm Heinrich, and Tieck, Ludwig, ‘Die Wunder der Tonkunst’, 130–5;Google Scholar

Wackenroder, Wilhelm Heinrich, and Tieck, Ludwig, ‘Das eigentümliche innere Wesen der Tonkunst und die Seelenlehre der heutigen Instrumentalmusik’, 143–52;Google Scholar

Wackenroder, Wilhelm Heinrich, and Tieck, Ludwig, ‘Ein Brief Joseph Berglingers’, 152–6.Google Scholar

Zumsteeg, Johann Rudolf, Lenore von G. A. Bürger (Breitkopf & Härtel, Leipzig, 1809).Google Scholar

Piano Music of Robert Schumann, ed. Schumann, Clara, 3 vols. (Dover, New York, 1972 and 1980) (reproduced from the Breitkopf & Härtel edition of 1879–87).Google Scholar

Schumann, Robert, Carnaval Opus 9, ed. Herttrich, Ernst (G. Henle, Munich, 2004).Google Scholar

Schumann, Robert, Fantasiestücke Opus 12, ed. Herttrich, Ernst (G. Henle, Munich, 2004).Google Scholar

Schumann, Robert, Humoreske Opus 20, ed. Köhler, Hans Joachim (C. F. Peters, Leipzig, 1981).Google Scholar

Schumann, Robert, Kreisleriana Opus 16, ed. Herttrich, Ernst (G. Henle, Munich, 2004).Google Scholar

Schumann, Robert, Nachtstücke Opus 23, ed. Herttrich, Ernst (G. Henle, Munich, 2008).Google Scholar

Schumann Briefedition, multiple vols. (Robert-Schumann-Haus Zwickau, Dohr, Cologne), of which:Google Scholar

Schumann, Clara and Robert, , Briefwechsel: Kritische Gesamtausgabe, ed. Weissweiler, Eva, 3 vols. (Stroemfeld/Roter Stern, Basel and Frankfurt, 1984–2001).Google Scholar

Schumann, Robert, Dichtergarten für Musik. Eine Anthologie für Freunde der Literatur und Musik, ed. Nauhaus, Gerd and Brodsch, Ingrid (Stadtmuseum Bonn and Stroemfeld, Frankfurt and Basel, 2007).Google Scholar

Erler, Hermann, Robert Schumann’s Leben aus seinem Briefen geschildert, 2 vols. in 1 (Ries and Erler, Berlin, 1887).Google Scholar

Schumann, Robert, Gesammelte Schriften über Musik und Musiker von Robert Schumann, 5th edn, 2 vols., ed. Kreisig, Martin (Breitkopf & Härtel, Leipzig, 1914).Google Scholar

Schumann, Robert, Jugendbriefe, ed. Schumann, Clara, 2nd edn (Breitkopf & Härtel, Leipzig, 1886).Google Scholar

Hotaki, Leander, Robert Schumanns Mottosammlung. Übertragung, Kommentar, Einführung (Rombach, Freiburg im Breisgau, 1998).Google Scholar

Schumann, Robert, Briefe, Neue Folge, ed. Jansen, Gustav, 2nd edn (Breitkopf & Härtel, Leipzig, 1904).Google Scholar

Schumann, Robert, Tagebücher, ed. Eisman, Georg and Nauhaus, Gerd, 3 vols. (Stroemfeld/Roter Stern, Basel and Frankfurt, 1971–87).Google Scholar

Schumann, Robert, Letter to Emilie Schumann, Leipzig, 15 July 1835, Robert-Schumann-Haus Zwickau, 280 A-2.Google Scholar

Piano Music of Robert Schumann, ed. Schumann, Clara, 3 vols. (Dover, New York, 1972 and 1980) (reproduced from the Breitkopf & Härtel edition of 1879–87).Google Scholar

Schumann, Robert, Carnaval Opus 9, ed. Herttrich, Ernst (G. Henle, Munich, 2004).Google Scholar

Schumann, Robert, Fantasiestücke Opus 12, ed. Herttrich, Ernst (G. Henle, Munich, 2004).Google Scholar

Schumann, Robert, Humoreske Opus 20, ed. Köhler, Hans Joachim (C. F. Peters, Leipzig, 1981).Google Scholar

Schumann, Robert, Kreisleriana Opus 16, ed. Herttrich, Ernst (G. Henle, Munich, 2004).Google Scholar

Schumann, Robert, Nachtstücke Opus 23, ed. Herttrich, Ernst (G. Henle, Munich, 2008).Google Scholar

Schumann, Robert, Carnaval Opus 9, ed. Herttrich, Ernst (G. Henle, Munich, 2004).Google Scholar

Schumann, Robert, Fantasiestücke Opus 12, ed. Herttrich, Ernst (G. Henle, Munich, 2004).Google Scholar

Schumann, Robert, Humoreske Opus 20, ed. Köhler, Hans Joachim (C. F. Peters, Leipzig, 1981).Google Scholar

Schumann, Robert, Kreisleriana Opus 16, ed. Herttrich, Ernst (G. Henle, Munich, 2004).Google Scholar

Schumann, Robert, Nachtstücke Opus 23, ed. Herttrich, Ernst (G. Henle, Munich, 2008).Google Scholar

Schumann Briefedition, multiple vols. (Robert-Schumann-Haus Zwickau, Dohr, Cologne), of which:Google Scholar

Schumann, Clara and Robert, , Briefwechsel: Kritische Gesamtausgabe, ed. Weissweiler, Eva, 3 vols. (Stroemfeld/Roter Stern, Basel and Frankfurt, 1984–2001).Google Scholar

Schumann, Robert, Dichtergarten für Musik. Eine Anthologie für Freunde der Literatur und Musik, ed. Nauhaus, Gerd and Brodsch, Ingrid (Stadtmuseum Bonn and Stroemfeld, Frankfurt and Basel, 2007).Google Scholar

Erler, Hermann, Robert Schumann’s Leben aus seinem Briefen geschildert, 2 vols. in 1 (Ries and Erler, Berlin, 1887).Google Scholar

Schumann, Robert, Gesammelte Schriften über Musik und Musiker von Robert Schumann, 5th edn, 2 vols., ed. Kreisig, Martin (Breitkopf & Härtel, Leipzig, 1914).Google Scholar

Schumann, Robert, Jugendbriefe, ed. Schumann, Clara, 2nd edn (Breitkopf & Härtel, Leipzig, 1886).Google Scholar

Hotaki, Leander, Robert Schumanns Mottosammlung. Übertragung, Kommentar, Einführung (Rombach, Freiburg im Breisgau, 1998).Google Scholar

Schumann, Robert, Briefe, Neue Folge, ed. Jansen, Gustav, 2nd edn (Breitkopf & Härtel, Leipzig, 1904).Google Scholar

Schumann, Robert, Tagebücher, ed. Eisman, Georg and Nauhaus, Gerd, 3 vols. (Stroemfeld/Roter Stern, Basel and Frankfurt, 1971–87).Google Scholar

Schumann, Robert, Letter to Emilie Schumann, Leipzig, 15 July 1835, Robert-Schumann-Haus Zwickau, 280 A-2.Google Scholar

Schumann Briefedition, multiple vols. (Robert-Schumann-Haus Zwickau, Dohr, Cologne), of which:Google Scholar

Schumann, Clara and Robert, , Briefwechsel: Kritische Gesamtausgabe, ed. Weissweiler, Eva, 3 vols. (Stroemfeld/Roter Stern, Basel and Frankfurt, 1984–2001).Google Scholar

Schumann, Robert, Dichtergarten für Musik. Eine Anthologie für Freunde der Literatur und Musik, ed. Nauhaus, Gerd and Brodsch, Ingrid (Stadtmuseum Bonn and Stroemfeld, Frankfurt and Basel, 2007).Google Scholar

Erler, Hermann, Robert Schumann’s Leben aus seinem Briefen geschildert, 2 vols. in 1 (Ries and Erler, Berlin, 1887).Google Scholar

Schumann, Robert, Gesammelte Schriften über Musik und Musiker von Robert Schumann, 5th edn, 2 vols., ed. Kreisig, Martin (Breitkopf & Härtel, Leipzig, 1914).Google Scholar

Schumann, Robert, Jugendbriefe, ed. Schumann, Clara, 2nd edn (Breitkopf & Härtel, Leipzig, 1886).Google Scholar

Hotaki, Leander, Robert Schumanns Mottosammlung. Übertragung, Kommentar, Einführung (Rombach, Freiburg im Breisgau, 1998).Google Scholar

Schumann, Robert, Briefe, Neue Folge, ed. Jansen, Gustav, 2nd edn (Breitkopf & Härtel, Leipzig, 1904).Google Scholar

Schumann, Robert, Tagebücher, ed. Eisman, Georg and Nauhaus, Gerd, 3 vols. (Stroemfeld/Roter Stern, Basel and Frankfurt, 1971–87).Google Scholar

Schumann, Robert, Letter to Emilie Schumann, Leipzig, 15 July 1835, Robert-Schumann-Haus Zwickau, 280 A-2.Google Scholar

Hoffmann, E. T. A., Nachtstücke, ed. Kaiser, Gerhard R. (Reclam, Stuttgart, 1990).Google Scholar

Hoffmann, E. T. A., Sämtliche Werke, ed. Müller-Seidel, W. and Segebrecht, W. (Winkler, Munich, 1960–5), of which:Google Scholar

Hoffmann, E. T. A., Späte Werke (1965).Google Scholar

Hoffmann, E. T. A., Elixiere des Teufels / Kater Murr (1961).Google Scholar

Hoffmann, E. T. A., Fantasie- und Nachtstücke (1960).Google Scholar

Hoffmann, E. T. A., Schriften zur Musik. Nachlese (1963).Google Scholar

Hoffmann, E. T. A., Die Serapions-Brüder (1963).Google Scholar

Hoffmann, E. T. A., Späte Werke (1965).Google Scholar

Hoffmann, E. T. A., Elixiere des Teufels / Kater Murr (1961).Google Scholar

Hoffmann, E. T. A., Fantasie- und Nachtstücke (1960).Google Scholar

Hoffmann, E. T. A., Schriften zur Musik. Nachlese (1963).Google Scholar

Hoffmann, E. T. A., Die Serapions-Brüder (1963).Google Scholar

Aristotle, , The ‘Poetics’ of Aristotle, ed. Butcher, S. H. (Macmillan, London, 1929).Google Scholar

Augustine, , (Saint), Confessions, trans. Pine-Coffin, R. S. (Penguin Books, Harmondsworth, 1961).Google Scholar

Augustine, , (Saint), On Christian Teaching, trans. Green, R. P. H. (Oxford University Press, 1999).Google Scholar

Augustine, , (Saint), Tractatus in Ioannis Evangelium CXXIV, ed. Willens, Radbodus (Brepols, Turnhout, 1954).Google Scholar

Becker, Julius, Der Neuromantiker. Musikalischer Roman (J. J. Weber, Leipzig, 1840).Google Scholar

Bonaventura: see under Nachtwachen von Bonaventura below.Google Scholar

Brendel, Franz, ‘Die Neuromantiker. Musikalischer Roman von Julius Becker’, Neue Zeitschrift für Musik, 11 (1839), 190–2.Google Scholar

Brendel, Franz, ‘Robert Schumann mit Rücksicht auf Mendelssohn-Bartholdy und die Entwicklung der modernen Tonkunst überhaupt’, Neue Zeitschrift für Musik, 22 (1845), 63–7; 81–3; 89–92; 113–16; 121–3; 145–7 and 149–50.Google Scholar

Coleridge, Samuel Taylor, Poetical Works, ed. Coleridge, Ernest Hartley (Oxford University Press, London, New York and Toronto, 1967).Google Scholar

Freud, Sigmund, ‘Beyond the Pleasure Principle’, in Phillips, Adam (ed.), The Penguin Freud Reader (Penguin, Harmondsworth, 2006), 132–95.Google Scholar

Freud, Sigmund, ‘Das Unheimliche’, in Mitscherlich, Alexander (ed.), Sigmund Freud: Studienausgabe, IV (Frankfurt, 1970), 241–74.Google Scholar

Goethe, Johann Wolfgang, Werke (Winkler, Munich), 6 vols., of which:Google Scholar

Gozzi, Carlo, Five Tales for the Theatre, ed. and trans. Bremel, Albert and Emery, Ted (University of Chicago Press, 1989).Google Scholar

Griepenkerl, Friedrich, ‘Musikalisches Leben in Braunschweig’, Neue Zeitschrift für Musik, 6 (1837), 17, 70.Google Scholar

Heine, Heinrich, ‘Die romantische Schule’, in Windfuhr, Manfred (ed.), Historisch-kritische Gesamtausgabe der Werke, vol. VIII/1 (Hoffmann and Campe, Hamburg, 1979).Google Scholar

Heinse, Wilhelm, Ardinghello und die Glückseligen Inseln (Insel Verlag, Leipzig, 1962).Google Scholar

Hölderlin, Friedrich, Hyperion (Bibliothek der Erstausgaben, dtv, Munich, 2005).Google Scholar

Hölderlin, Friedrich, ‘Urteil und Sein’, in Beißner, Friedrich (ed.), Sämtliche Werke. Stuttgarter Hölderlin-Ausgabe, vol. IV (Stuttgart, 1961).Google Scholar

Homer, , Iliad, ed. Leaf, Walter and Bayfield, M.A. (Macmillan, London, 1965), vol. I.Google Scholar

Homer, , Odyssey, ed. Murray, A.T. (Heinemann, London, 1919).Google Scholar

Paul, Jean, Flegeljahre, eine Biographie, ed. Koebner, Thomas (Reclam, Stuttgart, 1994).Google Scholar

Paul, Jean, Kleine Nachschule zur Ästhetischen Vorschule, in Vorschule der Ästhetik (see below).Google Scholar

Paul, Jean, Die unsichtbare Loge, ed. Miller, Norbert (Piper, Munich and Zürich, 1986).Google Scholar

Paul, Jean, Vorschule der Ästhetik; Kleine Nachschule zur Ästhetischen Vorschule, ed. Miller, Norbert (Hanser, Munich, 1963) [contains Vorschule der Ästhetik, Nebst einigen Vorlesungen in Leipzig über die Parteien der Zeit (2nd edn of 1813) and Kleine Nachschule of 1825].Google Scholar

Kahlert, August, ‘Die Genrebilder in der Modernen Musik’, Neue Zeitschrift für Musik, 2 (1835), 189 ff.Google Scholar

Kahlert, August, ‘Recensionen’, Cäcilia, 66 (1835), 106–15.Google Scholar

Kapp, Julius, ed., Gesammelte Schriften von Franz Liszt (Breitkopf & Härtel, Leipzig, 1910).Google Scholar

Koßmaly, Carl, ‘Ueber Robert Schumann’s Claviercompositionen’, Allgemeine musikalische Zeitung (Leipzig), 1–3 (1844), 1–5, 17–21, 33–7.Google Scholar

Liszt, Franz, ‘Compositions pour piano de M. Robert Schumann’, Revue et Gazette Musicale de Paris (1837), 488–90.Google Scholar

Liszt, Franz, ‘Franz Liszt über Robert Schumann’, Literatur und Kunstblatt zur Zeitschrift, “Der Eisenbahn”, 16–17 (1840), 63–4, 67–8.Google Scholar

Liszt, Franz, ‘Robert Schumann’ (1855), in Kapp, Julius (ed.), Gesammelte Schriften von Franz Liszt (Breitkopf & Härtel, Leipzig, 1910), vol. IV, 166–243.Google Scholar

Marx, A. B., Musical Form in the Age of Beethoven: Selected Writings on Theory and Method, ed. Burnham, Scott (Cambridge University Press, 1997).Google Scholar

Michaelis, Christian Friedrich, ‘Einige Bemerkungen über das Erhabene der Musik’, in Berlinische musikalische Zeitung, herausgegeben von Johann Friedrich Reichardt, Zwei Jahrgänge in einem Band (Georg Olms, Hildesheim, 1969).Google Scholar

Michaelis, Christian Friedrich, ‘Nachtrag zu den vermischten Bemerkungen über Musik’, in Berlinische musikalische Zeitung, herausgegeben von Johann Friedrich Reichardt, Zwei Jahrgänge in einem Band (Georg Olms, Hildesheim, 1969).Google Scholar

Michaelis, Christian Friedrich, ‘Vermischte Bemerkungen über Musik’, in Berlinische musikalische Zeitung, herausgegeben von Johann Friedrich Reichardt, Zwei Jahrgänge in einem Band (Georg Olms, Hildesheim, 1969).Google Scholar

Moritz, Karl Philipp, Werke, ed. Günther, Horst (Insel Verlag, Frankfurt-am-Main, 1981), vol. I.Google Scholar

Moscheles, Ignaz, Charakteristische Studien für das Pianoforte, Opus 95 (Kistner, Leipzig, c. 1836).Google Scholar

Moscheles, Ignaz, ‘Pianoforte Sonate, Clara zugeeignet von Florestan und Eusebius, Op. XI’, Neue Zeitschrift für Musik, 5 (1836), 136.Google Scholar

Nachtwachen von Bonaventura, ed. Küpper, Peter (Wissenschaftliche Buchgesellschaft, Darmstadt, 2004).Google Scholar

Novalis, , Gesammelte Werke, ed. , H. and Kohlschmidt, W. (Sigbert Mohn Verlag, Gütersloh, 1967).Google Scholar

Novalis, , Notes for a Romantic Encyclopedia, ‘Das Allgemeine Brouillon’, ed. Wood, David W. (State University of New York Press, Albany, 2007).Google Scholar

Novalis, , Schriften, ed. Tieck, Ludwig and Schlegel, Friedrich, 2 vols. (G. Reimer, Berlin, 1837).Google Scholar

Novalis, , Schriften, ed. Tieck, Ludwig and von Bülow, Eduard, vol. III (G. Reimer, Berlin, 1846).Google Scholar

Novalis, , Schriften, I, Das Dichterische Werk, ed. Kluckhohn, Paul and Samuel, Richard (Kohlhammer, Stuttgart, 1960).Google Scholar

Novalis, , Schriften, II-III, Das Philosophische Werk, ed. Kluckhohn, Paul and Samuel, Richard (Kohlhammer, Stuttgart, 1960).Google Scholar

Novalis, , Schriften, IV, Tagebücher, Briefwechsel, Zeitgenössische Zeugnisse, ed. Samuel, Richard (Kohlhammer, Stuttgart, 1975).Google Scholar

Novalis, , Schriften, V, Materialien und Register, ed. Mähl, Hans-Joachim and Samuel, Richard (Kohlhammer, Stuttgart, 1988).Google Scholar

Ovid, , Metamorphoses, Books I–VIII, ed. Miller, Frank (Harvard University Press, Cambridge, Mass. and London, 1977).Google Scholar

Proust, Marcel, In Search of Lost Time. I: Swann’s Way, trans. Moncrieff, C. K. Scott and Kilmartin, Terence, rev. Enright, D. J. (Chatto and Windus, London, 1992).Google Scholar

Rellstab, Ludwig, review in Iris, 21 (25 May 1832), in Schumann, , Tagebücher, I 425.Google Scholar

Rousseau, Jean-Jacques, Oeuvres complètes, vol. III, Du contrat social; Écrits politiques, ed. Gagnebin, Bernard and Raymond, Marcel (Gallimard, Paris, 1964).Google Scholar

Schiller, Friedrich, Sämtliche Werke, ed. von Wiese, Benno and Koopmann, Helmut, vol. V, Philosophische Schriften, Vermischte Schriften (Winkler, Munich, 1968).Google Scholar

Schlegel, August Wilhelm, ‘Die Gemälde. Gespräch’, Athenaeum (Berlin), 2.1 (1799).Google Scholar

Schubring, Adolf, ‘Schumanniana No. 4’, Neue Zeitschrift für Musik, 54 (1861), 213.Google Scholar

Schütze, Stephan, ‘Über das Verhältnis der Komik zur Musik’, Cäcilia, 63 (1834), 197–205.Google Scholar

von Seyfried, Ignaz, ‘Schumann, Robert, Kreisleriana, Phantasie für Pianoforte, 16. Werk’, Allgemeine musikalischer Anzeiger, 29 (1840), 113–14.Google Scholar

Shakespeare, William, Complete Works, ed. Craig, W. J. (Oxford University Press, London, New York and Toronto, 1966).Google Scholar

Shakespeare, William, Shakespeare’s dramatische Werke, trans. Schlegel, A. W. and Eschenburg, J. J., 20 vols. (Vienna, 1811–12).Google Scholar

Shelley, Percy Bysshe, Shelley’s Poetry and Prose, Authoritative Texts and Criticism, ed. Reiman, Donald H. and Powers, Sharon B. (W. W. Norton, New York, London, 1977).Google Scholar

‘Stein, K.’ (pseud. of Gustav Adolph Keferstein), ‘Bemerkungen eines irrenden Theoretikers: sollen Musikstücken wirkliche Gedanken zum Grunde liegen?’, Cäcilia, 73 (1837), 14–44.Google Scholar

‘Stein, K.’ (pseud. of Gustav Adolph Keferstein), ‘Versuch über das Komische in der Musik’, Cäcilia, 60 (1833), 221–66.Google Scholar

Tieck, Ludwig, Die Märchen aus dem Phantasus. Dramen, ed. Thalmann, Marianne (Winkler, Munich, 1964).Google Scholar

Tieck, Ludwig, ‘Die Töne’, from ‘Phantasien über die Kunst für Freunde der Kunst’, in Berend, Eduard (ed.), Tiecks Werke (Deutsches Verlagshaus Bong, Berlin, 1908), vol. I.Google Scholar

Virgil, , Bucolica et Georgica, ed. Page, T. E. (Macmillan, London, 1968).Google Scholar

Wackenroder, Wilhelm Heinrich, and Tieck, Ludwig, Herzensergießungen eines Kunstliebenden Klosterbruders, together with Wackenroder’s contributions to the Phantasien über die Kunst für Freunde der Kunst, ed. Gillies, A. (Blackwell, Oxford, 1948), including:Google Scholar

Wackenroder, Wilhelm Heinrich, and Tieck, Ludwig, ‘Die Wunder der Tonkunst’, 130–5;Google Scholar

Wackenroder, Wilhelm Heinrich, and Tieck, Ludwig, ‘Das eigentümliche innere Wesen der Tonkunst und die Seelenlehre der heutigen Instrumentalmusik’, 143–52;Google Scholar

Wackenroder, Wilhelm Heinrich, and Tieck, Ludwig, ‘Ein Brief Joseph Berglingers’, 152–6.Google Scholar

Zumsteeg, Johann Rudolf, Lenore von G. A. Bürger (Breitkopf & Härtel, Leipzig, 1809).Google Scholar

Abbate, Carolyn, ‘Music – Drastic or Gnostic?’, Critical Inquiry, 30.3 (2004), 505–36.CrossRefGoogle Scholar

Abbate, Carolyn, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton University Press, 1991).CrossRefGoogle Scholar

von Adam-Schmidmeier, Eva-Maria, ‘Kreisleriana, Op. 16’, in Loos, Helmut (ed.), Robert Schumann. Interpretationen seiner Werke, 2 vols. (Laaber, 2005), vol. I, 92–8.Google Scholar

Agawu, V. Kofi, ‘Ambiguity in Tonal Music: A Preliminary Study’, in Pople, Anthony (ed.), Theory, Analysis, and Meaning in Music (Cambridge University Press, 1994), 86–107.Google Scholar

Agawu, V. Kofi, Music as Discourse: Semiotic Adventures in Romantic Music (Oxford University Press, 2008).Google Scholar

Agawu, V. Kofi, Playing with Signs: a Semiotic Interpretation of Classical Music (Princeton University Press, 1991).Google Scholar

Almén, Byron and Pearsall, Edward, eds., Approaches to Musical Meaning (Indiana University Press, Bloomington and Indianopolis, 2006).Google Scholar

Alphonce, Bo, ‘Dissonance and Schumann’s Reckless Counterpoint’, Music Theory Online, 7 (March 1994), 1–19.Google Scholar

Altenburg, Detlef, ‘Robert Schumann und Franz Liszt. Die Idee der poetischen Musik im Spannungsfeld von deutscher und französischer Musikanschauung’, in Bär, Ute (ed.), Robert Schumann und die französische Romantik. Bericht über das 5. Internationale Schumann-Symposium der Robert-Schumann-Gesellschaft am 9. und 10. Juli 1994 in Düsseldorf, Schumann Forschungen VI (Schott, Mainz, London, Madrid, 1997).Google Scholar

Appel, Bernhard, ‘Carnaval, Op. 9’, in Loos, Helmut (ed.), Robert Schumann. Interpretationen seiner Werke (Laaber, 2005), vol. I, 49–55.Google Scholar

Appel, Bernhard, ‘Nachtstücke, op. 23’, in Loos, Helmut (ed.), Robert Schumann. Interpretationen seiner Werke (Laaber, 2005), vol. I, 129–31.Google Scholar

Appel, Bernhard, ‘R. Schumanns Humoreske für Klavier, Op. 20. Zum musikalischen Humor in der ersten Hälfte des 19. Jahrhunderts unter besonderer Berücksichtigung des Formproblems’, unpublished PhD thesis, Universität Saarbrücken (1980–1).Google Scholar

Appel, Bernhard, ed., Robert Schumann und die Dichter. Ein Musiker als Leser: Katalog zur Ausstellung des Heinrich-Heine-Instituts in Verbindung mit dem Robert-Schumann-Haus in Zwickau und der Robert-Schumann-Forschungsstelle in Düsseldorf (Droste, Düsseldorf, 1991).Google Scholar

Appel, Bernhard, ‘Schumanns Davidsbund. Geistes- und sozialgeschichtliche Voraussetszungen einer romantischen Idee’, Archiv für Musikwissenschaft, 38.1 (1981), 1–23.Google Scholar

Arnsdorf, Mary Hunter, ‘Schumann’s Kreisleriana, Op. 16, Analysis and Performance’, unpublished dissertation, Columbia University (1976).Google Scholar

Bär, Ute, ed., Robert Schumann und die französische Romantik. Bericht über das 5. Internationale Schumann-Symposium der Robert-Schumann-Gesellschaft am 9. und 10. Juli 1994 in Düsseldorf, Schumann Forschungen VI (Schott, Mainz, London, Madrid, 1997).Google Scholar

Barnes, Jonathan, ed., The Cambridge Companion to Aristotle (Cambridge University Press, 1995).Google Scholar

Barthes, Roland, The Responsibility of Forms: Critical Essays on Music, Art and Representation, trans. Howard, Richard (Hill and Wang, New York, 1985).Google Scholar

Beaufils, M, La musique de piano de Schumann (Larousse, Paris, 1951).Google Scholar

Bekker-Adden, Meike, Nahtstellen: Strukturelle Analogien der Kreisleriana von E. T. A. Hoffmann und Robert Schumann (Bielefeld, 2006).Google Scholar

Bent, Ian, ed., Music Analysis in the Nineteenth Century, 2 vols. (Cambridge University Press, 1994).Google Scholar

Bent, Ian, ed., Music Theory in the Age of Romanticism (Cambridge University Press, 1996).Google Scholar

Bergé, Pierre, ed., Caplin, William E., Hepokoski, James, Webster, James (contributors), Musical Form, Forms and Formenlehre: Three Methodological Reflections (Leuven University Press, 2009).Google Scholar

Berger, Karol and Newcomb, Anthony, eds., Music and the Aesthetics of Modernity, Isham Library Paper 6 (Harvard University Press, Cambridge, Mass. and London, 2005).Google Scholar

Bischoff, Bodo, ‘Das Bach-Bild Robert Schumanns’, in Heinemann, Michael and Hinrichsen, Hans-Joachim (eds.), Bach und die Nachwelt (Laaber, 1997), vol. I, 421–99.Google Scholar

Bischoff, Bodo, Monument für Beethoven. Die Entwicklung der Beethoven-Rezeption Robert Schumanns (Dohr, Cologne, 1994).Google Scholar

Blackall, Eric A., The Novels of the German Romantics (Cornell University Press, Ithaca, NY, 1983).Google Scholar

Boetticher, Wolfgang, Robert Schumanns Klavierwerke, Teil II, Opus 7–13, Neue biographische und textkritische Untersuchungen (Heinrichshofen’s Verlag, Wilhelmshaven, 1984).Google Scholar

Boetticher, Wolfgang, ‘Weitere Forschungen an Dokumenten zum Leben und Schaffen Robert Schumanns’, in Robert Schumann: ein romantisches Erbe in neuer Forschung: Acht Studien (Robert-Schumann-Gesellschaft, Düsseldorf, Mainz, London, 1984).Google Scholar

Bonds, Mark Evan, ‘Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century’, Journal of the American Musicological Society, 50 (1997), 387–420.CrossRefGoogle Scholar

Bonds, Mark Evan, Music as Thought: Listening to the Symphony in the Age of Beethoven (Princeton University Press, 2015).Google Scholar

Bonds, Mark Evan, Wordless Rhetoric: Musical Form and the Metaphor of the Oration (Harvard University Press, Cambridge, Mass., 1991).Google Scholar

Botstein, Leo, ‘History, Rhetoric and the Self: Robert Schumann and Music Making in German-Speaking Europe, 1800–60’, in Todd, R. Larry (ed.), Schumann and His World (Princeton University Press, 1994), 3–46.Google Scholar

Boulby, Mark, Karl Philipp Moritz: At the Fringe of Genius (University of Toronto Press, 1979).CrossRefGoogle Scholar

Bowie, Andrew, Music, Philosophy, and Modernity (Cambridge University Press, 2007).CrossRefGoogle Scholar

Brion, Marcel, Schumann et l’âme romantique (Albin Michel, Paris, 1954).Google Scholar

Brown, Hilda Meldrum, E. T. A. Hoffmann and the Serapiontic Principle: Critique and Creativity (Camden House, Rochester, NY, 2006).Google Scholar

Brown, Julie Hedges, ‘Higher Echoes of the Past in the Finale of Schumann’s 1842 Piano Quartet’, Journal of the American Musicological Society, 57.3 (2004), 511–64.Google Scholar

Brown, Julie Hedges, ‘Schumann and the Style Hongrois’, in Kok, Roe-Min and Tunbridge, Laura (eds.), Rethinking Schumann (Oxford University Press, 2011), 265–99.Google Scholar

Burkholder, J. Peter, ‘A Simple Model for Associative Musical Meaning’, in Almén, Byron and Pearsall, Edward (eds.), Approaches to Musical Meaning (Indiana University Press, Bloomington and Indianapolis, 2006), 76–106.Google Scholar

Burnham, Scott, Beethoven Hero (Princeton University Press, 1995).Google Scholar

Burnham, Scott, ‘Criticism, Faith and the “Idee”: A. B. Marx’s Early Reception of Beethoven’, 19th-Century Music, 13 (1990), 183–92.Google Scholar

Burnham, Scott, ‘“E. T. A. Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Musical Criticism”, by David Charlton, Martyn Clarke: Review’, 19th-Century Music, 14 (1991), 286–96.Google Scholar

Burnham, Scott, ‘How Music Matters: Poetic Content Revisited’, in Cook, Nicholas and Everist, Mark (eds.), Rethinking Music (Oxford University Press, 1999), 193–216.Google Scholar

Calasso, Roberto, The Ruin of Kasch, trans. Weaver, William and Sartarelli, Stephen (Vintage, London, 1995).Google Scholar

Carey, Norman, ‘An Improbable Intertwining: An Analysis of Schumann’s Kreisleriana I and II’, Theory and Practice, 32 (2007), 19–50.Google Scholar

Célis, Raphaèl, ‘L’art et l’aspiration à l’unité « magique » de la vie dans le romantisme allemand. Méditations sur les affinités destinales des Kreisleriana d’E. T. A. Hoffmann et de R. Schumann’, in Célis, Raphaèl (ed.), Littérature et musique (Facultés universitaire Saint-Louis, Brussels, 1982).CrossRefGoogle Scholar

Chailley, Jacques, Carnaval de Schumann (Alphonse Leduc, Paris, 1971).Google Scholar

Chailley, Jacques, ‘Zum Symbolismus bei Robert Schumann mit besonderer Berücksichtigung der Papillons, Op. 2’, in Robert Schumann: ein romantisches Erbe in neuer Forschung: Acht Studien (Robert-Schumann-Gesellschaft, Düsseldorf, Mainz, London, 1984), 57–66.Google Scholar

Charlton, David, ed., E. T. A. Hoffmann’s Musical Writings (Cambridge University Press, 1989).Google Scholar

Chernaik, Judith, ‘Schumann’s “Papillons”, Op. 2: A Case Study’, The Musical Times, 153 no. 1920 (2012), 67–86.Google Scholar

Chua, Daniel K. L., The Galitzin Quartets of Beethoven, Opp. 127, 132, 130 (Princeton University Press, 1995).Google Scholar

Cochrane, Tom, Fantini, Bernardino and Scherer, Klaus R., eds., The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression and Social Control (Oxford University Press, 2013).Google Scholar

Cohn, Richard, ‘The Autonomy of Motives in Schenkerian Accounts of Tonal Music’, Music Theory Spectrum, 14 (1992), 150–70.Google Scholar

Columbus, Claudette Kemper, ‘“Die Flegeljahre”, “Papillons”, “Carnaval” as Masques’, Mosaic, a Journal for the Interdisciplinary Study of Literature, 10.1 (1976), 69–91.Google Scholar

Cook, Nicholas, A Guide to Musical Analysis (J. M. Dent, London, 1987).Google Scholar

Cook, Nicholas, Music, Imagination and Culture (Oxford University Press, 1992).Google Scholar

Cook, Nicholas, ‘Uncanny Moments: Juxtaposition and the Collage Principle in Music’, in Almén, Byron and Pearsall, Edward (eds.), Approaches to Musical Meaning (Indiana University Press, Bloomington and Indianopolis, 2006), 107–34.Google Scholar

Cook, Nicholas and Everist, Mark, eds., Rethinking Music (Oxford University Press, 1999).CrossRefGoogle Scholar

Cramer, Alfred W., ‘Of Serpentina and Stenography: Shapes of Handwriting in Romantic Melody’, 19th-Century Music, 30 (2006), 133–65.Google Scholar

Crisp, Deborah, ‘The Kreisleriana of Robert Schumann and E. T. A. Hoffmann: Some Musical and Literary Parallels’, Musicology Australia, 16 (1993), 3–18.Google Scholar

Dahlhaus, Carl, Klassische und romantische Musikästhetik (Laaber, 1988).Google Scholar

Daverio, John, Crossing Paths (Oxford University Press, 2002).CrossRefGoogle Scholar

Daverio, John, Nineteenth-Century Music and the German Romantic Ideology (Schirmer Books, New York, 1993).Google Scholar

Daverio, John, ‘Piano Works I: a World of Images’, in Perrey, Beate (ed.), The Cambridge Companion to Schumann (Cambridge University Press, 2007), 65–85.Google Scholar

Daverio, John, Robert Schumann, Herald of a ‘New Poetic Age’ (Oxford University Press, 1997).Google Scholar

Davies, Stephen, Musical Meaning and Expression (Cornell University Press, Ithaca, NY and London, 1994).Google Scholar

Day-O’Connell, Jeremy, ‘The Rise of 6̂ in the Nineteenth Century’, Music Theory Spectrum 24 (2002), 35–67.Google Scholar

Deahl, Lora Gay, ‘Principles of Organization in Robert Schumann’s Davidsbündlertänze, Opus 6, and Kreisleriana, Opus 16’, unpublished dissertation, University of Texas at Austin (1988).Google Scholar

Deahl, Lora Gay, ‘Robert Schumann’s Kreisleriana and Double Novel Structure’, International Journal of Musicology, 5 (1996), 131–45.Google Scholar

Deleuze, Gilles and Guattari, Félix, A Thousand Plateaus, trans. Massumi, Brian (Continuum, London and New York, 2004).Google Scholar

Dickson, Sheila, ‘E. T. A. Hoffmann: Mind, Mythology and Meaning’, Forum for Modern Language Studies, 32 (1996), 251–63.Google Scholar

Diels, Hermann and Kranz, Walther, Die Fragmente der Vorsokratiker (Weidmann, Zurich, 1985).Google Scholar

Dill, Heinz J., ‘Romantic Irony in the Works of Robert Schumann’, Musical Quarterly, 63 (1989), 172–95.Google Scholar

Dodd, Julian, Works of Music: An Essay in Ontology (Oxford University Press, 2007).Google Scholar

Draheim, Joachim, ‘Schumann und Shakespeare’, Neue Zeitschrift für Musik, 3 (1981), 237–44.Google Scholar

Erhardt, Damien, ‘Die französische und die deutsche Erstdruck von Carnaval’, in Bär, Ute (ed.), Robert Schumann und die französische Romantik (Schott Music, London, 1997).Google Scholar

Fabre, Florence, ‘“L’Enfant Étranger” d’Hoffmann, les “Scènes d’Enfants” de Schumann: Une “Transformation Topologique”?’, Revue International d’Études Musicales, 22 (2004), 219–33.Google Scholar

Fantini, Bernardino, ‘Forms of Thought Between Music and Science’, in Cochrane, Tom, Fantini, Bernardino and Scherer, Klaus R. (eds.), The Emotional Power of Music (Oxford University Press, 2013), 257–69.Google Scholar

Ferris, David, ‘Public Performance and Private Understanding: Clara Wieck’s Concerts in Berlin’, Journal of the American Musicological Society, 56.2 (2003), 351–408.Google Scholar

Finson, Jon W., ‘Schumann and Shakespeare’, in Finson, Jon W. and Todd, R. Larry (eds.), Mendelssohn and Schumann: Essays on Their Music and Its Context (Duke University Press, Durham, NC, 1984), 125–36.Google Scholar

Finson, Jon W. and Todd, R. Larry, eds., Mendelssohn and Schumann: Essays on Their Music and Its Context (Duke University Press, Durham, NC, 1984).Google Scholar

Fisk, Charles, ‘What Schubert’s Last Sonata Might Hold’, in Robinson, Jenefer (ed.), Music and Meaning (Cornell University Press, Ithaca, NY and London, 1997), 179–200.Google Scholar

Floros, Constantin, ‘Schumanns musikalische Poetik’, in Metzger, Heinz K. and Riehn, Rainer (eds.), Musik-Konzepte Sonderband Robert Schumann (edition text + kritik, Munich, 1981–2), vol. I, 90–104.Google Scholar

Giani, Maurizio, ‘L’Italia di Robert Schumann. Riflessioni sui Tagebücher’, in Schumann, Brahms e l’Italia. Atti dei convegni lincei 165, Convegno internazionale, Rom, 4–5 November 1999 (Accademia Nazionale dei Lincei, Rome, 2001).Google Scholar

Gooley, Dana, ‘La Commedia del Violino: Paganini’s Comic Strains’, Musical Quarterly, 88.3 (2005), 370–427.Google Scholar

Gooley, Dana, ‘Schumann and Agencies of Improvisation’, in Kok, Roe-Min and Tunbridge, Laura (eds.), Rethinking Schumann (Oxford University Press, 2011), 129–56.Google Scholar

Grey, Thomas, ‘“Wie ein rother Faden”: On the Origins of the “Leitmotif” as Critical Construct and Musical Practice’, in Bent, Ian (ed.), Music Theory in the Age of Romanticism (Cambridge University Press, 1996), 187–210.Google Scholar

Gutman, Robert W., Mozart: A Cultural Biography (Harcourt, San Diego, New York, London, 1999).Google Scholar

Halski, Czeslaw Raymond, ‘Murky: A Polish Musical Freak’, Music and Letters, 39 (1958), 35–7.Google Scholar

Hatten, Robert, Interpreting Musical Gestures, Topics and Tropes (Indiana University Press, Bloomington, 2004).Google Scholar

Heller, Karl, ‘Fantasiestücke, Op. 12’, in Loos, Helmut (ed.), Robert Schumann. Interpretationen seiner Werke (Laaber, 2005), vol. I, 65–71.Google Scholar

Hering, Hans, ‘Das Variative in Schumanns frühem Klavierwerk’, Melos / NZ für Musik, 1 (1975), 347–54.Google Scholar

Hoeckner, Berthold, Programming the Absolute: Nineteenth Century German Music and the Hermeneutics of the Moment (Princeton University Press, 2002).Google Scholar

Hoeckner, Berthold, ‘Schumann and Romantic Distance’, Journal of the American Musicological Society, 50.1 (1997), 55–132.Google Scholar

Hyer, Bryan, ‘Second Immediacies in the Eroica’, in Bent, Ian (ed.), Music Theory in the Age of Romanticism (Cambridge University Press, 1996), 84–7.Google Scholar

Jankélévitch, Vladimir, Music and the Ineffable, trans. Abbate, Carolyn (Princeton University Press, 2003).Google Scholar

Jensen, Eric Frederick, ‘Explicating Jean Paul: Robert Schumann’s Program for Papillons, Op. 2’, 19th-Century Music, 22 (1998), 127–43.Google Scholar

Jensen, Eric Frederick, Schumann (Oxford University Press, 2001).Google Scholar

Kaminsky, Peter, ‘Principles of Formal Structure in Schumann’s Early Piano Cycles’, Music Theory Spectrum, 11.2 (Autumn 1989), 207–25.Google Scholar

Kapp, Reinhard, ‘Schumann in His Time and Since’, in Perrey, Beate (ed.), The Cambridge Companion to Schumann (Cambridge University Press, 2007), 223–51.Google Scholar

Kerman, Joseph, The Beethoven Quartets (Norton, New York and London, 1979).Google Scholar

Kinderman, William and Krebs, Harald, eds., The Second Practice of Nineteenth-Century Tonality (University of Nebraska Press, Lincoln and London, 1996).Google Scholar

Kinsky, G., ‘Ein unbekanntes Fantasiestück aus Schumanns Jugendzeit’, Schweizerische Musikzeitung, 75.24 (1935), 769–75.Google Scholar

Knapp, Raymond, ‘Brahms and the Anxiety of Allusion’, Journal of Musicological Research, 18 (1998), 1–30.Google Scholar

Knapp, Raymond, Brahms and the Challenge of the Symphony (Pendragon Press, Stuyvesant, NY, 1997).Google Scholar

Kok, Roe-Min and Tunbridge, Laura, eds., Rethinking Schumann (Oxford University Press, 2011).Google Scholar

Kolb, Jocelyne, ‘E. T. A. Hoffmann’s Kreisleriana: à la Recherche d’une Forme Perdue’, Monatshefte, 69.1 (Spring 1977), 34–44.Google Scholar

Kopp, David, ‘Intermediate States of Key in Schumann’, in Kok, Roe-Min and Tunbridge, Laura (eds.), Rethinking Schumann (Oxford University Press, 2011) 300–25.Google Scholar

Korsyn, Kevin, ‘The Death of Musical Analysis? The Concept of Unity Revisited’, Music Analysis, 23.2–3 (2004), 337–51.Google Scholar

Krahe, K., ‘Robert Schumanns Schulaufsatz: Warum erbittert uns Tadel in Sachen des Geschmakes mehr, als in anderen Dingen?’, in Appel, Bernhard (ed.), Robert Schumann und die Dichter (Droste, Düsseldorf, 1991), 33–40.Google Scholar

Kramer, Lawrence, ‘Carnaval, Cross-Dressing, and the Woman in the Mirror’ in Solie, Ruth A. (ed.), Musicology and Difference (University of California Press, Berkeley, 1993), 305–26.Google Scholar

Kramer, Lawrence, Classical Music and Postmodern Knowledge (University of California Press, Berkeley, 1995).CrossRefGoogle Scholar

Kramer, Lawrence, Interpreting Music (University of California Press, Berkeley, 2011).Google Scholar

Kramer, Lawrence, Music and Poetry: The Nineteenth Century and After (University of California Press, Berkeley, 1984).Google Scholar

Kramer, Lawrence, Musical Meaning: Toward a Critical History (University of California Press, Berkeley, 2002).Google Scholar

Kramer, Lawrence, ‘Rethinking Schumann’s Carnaval: Identity, Meaning and the Social Order’, in Kramer, Lawrence Musical Meaning: Toward a Critical History (University of California Press, Berkeley, 2002), 100–32.Google Scholar

Kranefeld, Ulrike, Der nachschaffende Hörer. Rezeptionsästhetische Studien zur Musik Robert Schumann (J. B. Metzler, Stuttgart, Weimar, 2000).Google Scholar

Krebs, Harald, Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann (Oxford University Press, 1999).Google Scholar

Kruse, Joseph A., ‘Robert Schumanns Lektüre’, in Appel, Bernhard (ed.), Robert Schumann und die Dichter (Droste, Düsseldorf, 1991), 123–34.Google Scholar

Langer, Susanne K., Feeling and Form: A Theory of Art (Routledge and Kegan Paul, London, 1953).Google Scholar

Leopoldseder, Hannes, Groteske Welt. Ein Beitrag zur Entwicklungsgeschichte des Nachtstücks in der Romantik (Bouvier, Bonn, 1973).Google Scholar

Lester, Joel, ‘Robert Schumann and Sonata Forms’, 19th-Century Music, 18 (1995), 189–210.CrossRefGoogle Scholar

Levy, Morten, ‘Music and Pattern’, Musik and Forskning (1977–1), 96–112.Google Scholar

Lippman, Edward A., ‘Theory and Practice in Schumann’s Aesthetics’, Journal of the American Musicological Society (October 1964), 310–45.Google Scholar

Loos, Helmut, ed., Robert Schumann. Interpretationen seiner Werke, vol. I (Laaber, 2005).Google Scholar

Marston, Nicholas, ‘An die ferne Geliebte’, in Burnham, Scott and Steinberg, M. (eds.), Beethoven and His World (Princeton University Press, 2000).Google Scholar

Marston, Nicholas, Schumann: Fantasie, Op. 17 (Cambridge University Press, 1992).Google Scholar

Marston, Nicholas, ‘Schumann’s Heroes: Schubert, Beethoven, Bach’, in Perrey, Beate (ed.), The Cambridge Companion to Schumann (Cambridge University Press, 2007), 48–61.Google Scholar

Marston, Nicholas, ‘Schumann’s Monument to Beethoven’, 19th-Century Music, 14 (1991), 247–64.Google Scholar

Maus, Fred Everett, ‘Intersubjectivity and Analysis’, in Bent, Ian (ed.), Music Theory in the Age of Romanticism (Cambridge University Press, 1996), 125–37.Google Scholar

Maus, Fred Everett, ‘Music as Drama’, in Robinson, Jenefer (ed.), Music and Meaning (Cornell University Press, Ithaca, NY and London, 1997), 105–30.Google Scholar

Mayeda, Akio, ‘Papillons, Op. 2’, in Loos, Helmut (ed.), Robert Schumann. Interpretationen seiner Werke (Laaber, 2005), vol. I, 9–16.Google Scholar

McCorkle, Margit L., Robert Schumann. Thematisch-bibliographische Werkverzeichnis (Robert-Schumann-Gesellschaft, Düsseldorf; G. Henle Verlag, Munich, 2003).Google Scholar

McCreless, Patrick, ‘Song Order and the Song Cycle: Schumann’s “Liederkreis”, Op. 39’, Music Analysis, 5.1 (March 1986), 5–28.Google Scholar

Meier, Barbara, Robert Schumann (Rowohlt Taschenbuch, Reinbek bei Hamburg, 1995).Google Scholar

Messing, Scott, Schubert in the European Imagination, 2 vols. (University of Rochester Press, Rochester, NY, 2006), vol. I.Google Scholar

Metzger, Heinz K. and Riehn, Rainer, eds., Musik-Konzepte Sonderband Robert Schumann, 2 vols. (edition text + kritik, Munich, 1981–2).Google Scholar

Moraal, Christine, ‘The Life and Afterlife of Johannes Kreisler: Affinities Between E. T. A. Hoffmann and Carl Maria von Weber, Hector Berlioz and Robert Schumann’, unpublished dissertation, University of Michigan (1994).Google Scholar

Moraal, Christine, ‘Romantische Ironie in Robert Schumanns “Nachtstücke”, Op. 23’, Archiv für Musikwissenschaft, 54 (1997), 68–83.Google Scholar

Morgan, Robert P., ‘The Concept of Unity and Musical Analysis’, Music Analysis, 22.1–2 (2003), 7–50.Google Scholar

Müller-Sievers, Helmut, ‘Verstimmung: E. T. A. Hoffmann und die Trivialisierung der Musik’, Deutsche Vierteljahrschrift für Literaturwissenschaft und Geistesgeschichte, 63 (1989), 98–119.Google Scholar

Münch, Stephan, ‘Fantasiestücke in Kreislers Manier: Robert Schumanns Kreisleriana Op. 16 und die Musikanschauung E. T. A. Hoffmanns’, Die Musikforschung, 45 (1992), 255–75.Google Scholar

Musgrave, Michael, The Life of Schumann (Cambridge University Press, 2011).Google Scholar

Muxfeldt, Kristina, Review of ‘Nineteenth-Century Music and the German Romantic Ideology’ by Daverio, John, Journal of Music Theory, 40.1 (Spring 1996), 149–60.Google Scholar

Nattiez, Jean-Jacques, ‘Can One Speak of Narrativity in Music?’, trans. Ellis, Katherine, Journal of the Royal Musical Association, 115.2 (1990), 240–57.Google Scholar

Nauhaus, Gerd, ‘Schumanns Lektürebüchlein’, in Appel, Bernhard (ed.), Robert Schumann und die Dichter (Droste, Düsseldorf, 1991), 50–87.Google Scholar

Neergaard, Balder, ‘In the Footsteps of Jean Paul: Sonority and Pedalling in Robert Schumann’s “Papillons”, Op. 2’, in Woolley, Andrew and Kitchen, John (eds.), Interpreting Historical Keyboard Music: Sources, Contexts and Performance (Ashgate, Farnham and Burlington, 2013), 243–57.Google Scholar

The New Grove Dictionary of Music and Musicians, ed. Sadie, Stanley (executive editor: Tyrrell, John), 2nd edn, 29 vols. (Macmillan, London, 2001).Google Scholar

Newcomb, Anthony, ‘The Hunt for Reminiscences in Nineteenth-Century Germany’, in Berger, Karol and Newcomb, Anthony (eds.), Music and the Aesthetics of Modernity, Isham Library Paper 6 (Harvard University Press, Cambridge, Mass. and London, 2005), 111–35.Google Scholar

Newcomb, Anthony, ‘Once More “Between Absolute and Program Music”: Schumann’s Second Symphony’, 19th-Century Music, 7 (1984), 233–50.Google Scholar

Newcomb, Anthony, ‘Schumann and Late Eighteenth-Century Narrative Strategies’, 19th-Century Music, 11 (1987), 164–74.Google Scholar

Newcomb, Anthony, ‘Schumann and the Marketplace: From Butterflies to Hausmusik’, in Todd, R. Larry (ed.), Nineteenth-Century Piano Music (Routledge, New York and London, 2004), 258–315.Google Scholar

Newcomb, Anthony, “‘Those Images that Yet Fresh Images Begat’”, Journal of Musicology, 2.3 (1983), 227–45.Google Scholar

Niecks, Frederick, Programme Music in the Last Four Centuries (Novello, London, 1907).Google Scholar

O’Brien, William Arctander, ‘E. T. A. Hoffmann’s Critique of Idealism: Psychology, Allegory and Philosophy in “Die Automate”’, Euphorion, 83.4 (1989), 369–406.Google Scholar

O’Brien, William Arctander, Novalis: Signs of Revolution (Duke University Press, Durham, NC, 1995).Google Scholar

Otto, Frauke, Robert Schumann als Jean Paul Leser (Haag and Herchen, 1984).Google Scholar

Paulin, Roger, Ludwig Tieck (Oxford University Press, 1985).Google Scholar

Pederson, Sanna, ‘Defining the Term “Absolute Music” Historically’, Music and Letters, 15.2 (2009), 240–63.Google Scholar

Perrey, Beate Julia, Schumann’s ‘Dichterliebe’ and Early Romantic Poetics: Fragmentation of Desire (Cambridge University Press, 2002).Google Scholar

Perrey, Beate Julia, ed., The Cambridge Companion to Schumann (Cambridge University Press, 2007).Google Scholar

Perry, Mary, ‘Dissonance Treatment in Robert Schumann’s Piano Music’, unpublished dissertation, New York University (1991).Google Scholar

Pfau, Thomas, ‘From Autonomous Subjects to Self-Regulating Structures: Rationality and Development in German Idealism’, in Ferber, Michael (ed.), A Companion to European Romanticism (Blackwell, Oxford, 2005), 101–22.Google Scholar

Place, Jean-Michel, Robert Schumann. Ostinato Rigore 22 (Jean-Michel Place, Paris, 2004).Google Scholar

Plantinga, Leon B., Schumann as Critic (Yale University Press, New Haven, Conn., 1967).Google Scholar

Prawer, S. S., ‘Hoffmann’s Uncanny Guest: A Reading of “Der Sandmann”’, German Life and Letters, 18 (1964–5), 297–308.Google Scholar

Rastelli, Anna, ‘“Carnaval” e “La principessa Brambilla”: Ragione e intuizione nel pensiero di Schumann e Hoffmann’, Cristallo (Bolzano), 29.1 (1987), 61–6.Google Scholar

Reiman, Erika, Schumann’s Piano Cycles and the Novels of Jean Paul (University of Rochester Press, Rochester, NY, and Woodbridge, 2004).Google Scholar

Reynolds, Christopher Alan, Motives for Allusion (Harvard University Press, Cambridge, Mass., 2003).Google Scholar

Richards, Annette, The Free Fantasia and the Musical Picturesque (Cambridge University Press, 2001).Google Scholar

Robinson, Jenefer, ed., Music and Meaning (Cornell University Press, Ithaca, NY and London, 1997).Google Scholar

Rodgers, Stephen, ‘“This Body that Beats”: Roland Barthes and Robert Schumann’s Kreisleriana’, Indiana Theory Review, 18.2 (1997), 75–91.Google Scholar

Roesner, Linda Correll, ‘Schumann’s “Parallel” Forms’, 19th-Century Music, 14 (1991), 265–78.Google Scholar

Roesner, Linda Correll, ‘The Sources for Schumann’s Davidsbündlertänze, Op. 6: Composition, Textual Problems, and the Role of Composer as Editor’, in Finson, Jon W. and Todd, R. Larry (eds.), Mendelssohn and Schumann: Essays on Their Music and Its Context (Duke University Press, Durham, NC, 1984), 53–70.Google Scholar

Rosen, Charles, The Classical Style: Haydn, Mozart, Beethoven (Faber, London, 1972).Google Scholar

Rosen, Charles, The Romantic Generation (Harper Collins, London, 1996).Google Scholar

Rumph, Stephen, ‘A Kingdom Not of This World: The Political Context of E. T. A. Hoffmann’s Beethoven Criticism’, 19th-Century Music, 19.1 (1995), 50–67.Google Scholar

Ruprecht, Lucia, Dances of the Self in Heinrich von Kleist, E. T. A. Hoffmann and Heinrich Heine (Ashgate, Aldershot, 2006).Google Scholar

Schmalfeldt, Janet, In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music (Oxford University Press, 2011).Google Scholar

Schoenberg, A., ‘Brahms the Progressive’, in Stein, Leonard (ed.), Black, Leo (trans.), Style and Idea: Selected Writings of Arnold Schoenberg (Faber, London, 1975).Google Scholar

Schroeder, Severin, ‘Music and Metaphor’, British Journal of Aesthetics, 53.1 (2013), 1–19.Google Scholar

Scruton, Roger, The Aesthetics of Music (Oxford University Press, 1999).Google Scholar

Severtson, David M., ‘Robert Schumann’s Kreisleriana: Using Hoffmann’s Kreisler as a Model for the Unification of Contrasts’, Music Research Forum, University of Cincinnati, 17 (2002), 33–47.Google Scholar

Shilo, Nilly Epstein, ‘Rendition, Form and Temporal Modification in Robert Schumann’s Kreisleriana, Opus 16’, unpublished dissertation, Boston University (1993).Google Scholar

Simonett, Hans Peter, ‘Taktgruppengliederung und Form in Schumanns “Carnaval”’, unpublished dissertation, Freie Universität Berlin (1978).Google Scholar

Smith, P., ‘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 Kok, Roe-Min and Tunbridge, Laura (eds.), Rethinking Schumann (Oxford University Press, 2011), 235–64.Google Scholar

Solomon, Maynard, Late Beethoven: Music, Thought and Imagination (University of California Press, Berkeley, Los Angeles and London, 2003).Google Scholar

Steinberg, Michael P., ‘Schumann’s Homelessness’, in Todd, R. Larry (ed.), Schumann and His World (Princeton University Press, 1994), 47–79.Google Scholar

Struck, Michael, ‘Litterarischer Eindruck, poetischer Ausdruck und Struktur in Robert Schumanns Instrumentalmusik’, in Appel, Bernhard (ed.), Robert Schumann und die Dichter (Droste, Düsseldorf, 1991), 111–22.Google Scholar

Summer, Averill Vanderipe, ‘A Discussion and Analysis of Selected Unifying Elements in Robert Schumann’s “Carnaval”, Opus 9’, unpublished dissertation, Indiana University (1979).Google Scholar

Swales, Martin, The German Bildungsroman from Wieland to Hesse (Princeton University Press, 1978).Google Scholar

Synofzik, Thomas, ‘“ … den ich nicht hätte herausgeben sollen … ” Robert Schumanns kompositorische Anfänge’, in Nauhaus, Gerd and Bodsch, Ingrid (eds.), Zwischen Poesie und Musik. Robert Schumann – früh und spät (Stroemfeld, Frankfurt, 2006).Google Scholar

Tadday, Ulrich, ‘Life and Literature, Poetry and Philosophy: Robert Schumann’s Aesthetics of Music’, in Perrey, Beate (ed.), The Cambridge Companion to Schumann (Cambridge University Press, 2007), 38–47.Google Scholar

Tadday, Ulrich, Das schöne Unendliche: Ästhetik, Kritik, Geschichte der romantischen Musikanschauung (J. B. Metzler, Stuttgart, Weimar, 1999).Google Scholar

Tadday, Ulrich, ed., Schumann Handbuch (J. B. Metzler, Stuttgart, Weimar, 2006).Google Scholar

Taylor, Ronald, ‘Formal Parallels in Literature and Music’, German Life and Letters, 19 (1965–6), 10–18.Google Scholar

Thym, Jurgen, ‘Schumann in Brendel’s Neue Zeitschrift für Musik from 1845 to 1856’, in Finson, Jon W. and Todd, R. Larry (eds.), Mendelssohn and Schumann: Essays on Their Music and Its Context (Duke University Press, Durham, NC, 1984), 21–36.Google Scholar

Todd, R. Larry, ed., Mendelssohn and His World (Princeton University Press, 1991).Google Scholar

Todd, R. Larry, ‘On Quotation in Schumann’s Music’, in Todd, R. Larry (ed.), Schumann and His World (Princeton University Press, 1994), 80–112.Google Scholar

Todd, R. Larry, ed., Schumann and His World (Princeton University Press, 1994).Google Scholar

Treitler, Leo, Music and the Historical Imagination (Harvard University Press, Cambridge, Mass. and London, 1989).Google Scholar

Tudor, J. M., Sound and Sense: Music and Musical Metaphor in the Thought and Writing of Goethe and His Age (Peter Lang, Oxford, Bern and Berlin, 2011).Google Scholar

Tunbridge, Laura, ‘Piano Works II: Afterimages’, in Perrey, Beate (ed.), The Cambridge Companion to Schumann (Cambridge University Press, 2007), 86–101.Google Scholar

Wadsworth, Benjamin K., ‘Directional Tonality in Schumann’s Early Works’, Journal of Music Theory Online, 18.4 (2012).Google Scholar

Warner, Marina, Phantasmagoria: Spirit Visions, Metaphor and Media (Oxford University Press, 2006).Google Scholar

Watkins, Holly, ‘The Floral Poetics of Schumann’s Blumenstück, Op. 19’, 19th-Century Music, 36.1 (2012), 24–45.Google Scholar

Watkins, Holly, Metaphors of Depth in German Musical Thought: From E. T. A. Hoffmann to Arnold Schoenberg (Cambridge University Press, 2011).Google Scholar

Wendt, Matthias, ed., Schumann und seine Dichter (Schott Music, London, 1993).Google Scholar

Williamson, George S., The Longing for Myth in Germany (University of Chicago Press, 2004).Google Scholar

Wörner, Karl Heinrich, ‘Schumanns Kreisleriana’, in Sammelbände der Robert Schumann Gesellschaft, vol. II (VEB Deutscher Verlag für Musik, Leipzig, 1966), 58–65.Google Scholar

Worthen, John, Robert Schumann: Life and Death of a Musician (Yale University Press, New Haven, Conn., 2007).Google Scholar

Youens, Susan, ‘The Cry of the Schuhu: Dissonant History in a Late Schumann Song’, in Kok, Roe-Min and Tunbridge, Laura (eds.), Rethinking Schumann (Oxford University Press, 2011), 30–50.Google Scholar

Ziolkowski, Theodore, German Romanticism and its Institutions (Princeton University Press, 1990).Google Scholar

Žižek, Slavoj, The Plague of Fantasies (Verso, London, 2008).Google Scholar