“푸가와 캐논적 정신”: 슈만 음악에서 반복의 의미에 대한 고찰
“Fugues and Canonic Spirit”: The Meaning of Repetition in Robert Schuman’s Music
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In 1838, Robert Schumann (1810-1856) once remarked, “Fugues and canonic spirit pervade all my fantasizing.” Why did he use such implicit expression as ‘spirit’ rather than explicitly designating ‘fugue’ and ‘canon’ in explaining his compositional process? Assuming the meaning of this curious expression, I begin my argument on Schumann’s pursuit of ‘form,’ which does not mean a specific technique or form but an intelligent principle he adopted in his composition: repetition. As he duly applies this principle, presumably learned from his study of J. S. Bach’s fugue, his music features many repetitions of subject/motive/theme in various ways, which deliver audible musical ‘patterns’ to listener. Throughout this essay, I examine how diverse levels this basic principle was applied to Schumann’s music: From the micro level (motivic repetition) to the macro level (formal repetition in Schumann’s sonatas), ‘repetition’ is suggested as an overriding principle, thus a major stylistic element of Schumann’s composition. Also I discuss the aesthetical and historical meaning of applying such principle to music, reflecting Eduard Hanslick’s nineteenth century discussion on ‘musical beauty’ and ‘formalism’ in Vom musikalisch-Schönen and Peter Kivy’s twentieth century argument on ‘the fine art of repetition’ and ‘music alone.’ Schumann’s repetition in music, inspired by ‘fugues and the canonic spirit’ was an important device that gives a music some patterns, which are the fundamental base for creating a form in music. Furthermore, it was a significant first step for the following generation to develop a characteristic compositional technique achieving cyclic unity—repeating the same material in different guises (e.g. thematic transformation or developing variation)—in the nineteenth century.
Abstract
In 1838, Robert Schumann (1810-1856) once remarked, “Fugues and canonic spirit pervade all my fantasizing.” Why did he use such implicit expression as ‘spirit’ rather than explicitly designating ‘fugue’ and ‘canon’ in explaining his compositional process? Assuming the meaning of this curious expression, I begin my argument on Schumann’s pursuit of ‘form,’ which does not mean a specific technique or form but an intelligent principle he adopted in his composition: repetition. As he duly applies this principle, presumably learned from his study of J. S. Bach’s fugue, his music features many repetitions of subject/motive/theme in various ways, which deliver audible musical ‘patterns’ to listener. Throughout this essay, I examine how diverse levels this basic principle was applied to Schumann’s music: From the micro level (motivic repetition) to the macro level (formal repetition in Schumann’s sonatas), ‘repetition’ is suggested as an overriding principle, thus a major stylistic element of Schumann’s composition. Also I discuss the aesthetical and historical meaning of applying such principle to music, reflecting Eduard Hanslick’s nineteenth century discussion on ‘musical beauty’ and ‘formalism’ in Vom musikalisch-Schönen and Peter Kivy’s twentieth century argument on ‘the fine art of repetition’ and ‘music alone.’ Schumann’s repetition in music, inspired by ‘fugues and the canonic spirit’ was an important device that gives a music some patterns, which are the fundamental base for creating a form in music. Furthermore, it was a significant first step for the following generation to develop a characteristic compositional technique achieving cyclic unity—repeating the same material in different guises (e.g. thematic transformation or developing variation)—in the nineteenth century.
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