Konferenzbeitrag

Signum et gens – Zur Gendersemiotik in Clara und Robert Schumanns Liederzyklus Liebesfrühling

The marriage between Clara and Robert Schumann is one of the most popular relationships in music history. In 1840, a song cycle named Liebesfrühling with songs from Clara Schumann as well as from her husband was collectively published under their names. Despite the fact that the married couple did not specify the voice register and gender of the vocal parts within the score, some hints indicating the gender of the personas can be found for instance in the personal pronouns of the text. Yet, some parts of the song cycle do not provide such clues, leaving the question, to which gender the vocal parts are ascribed, completely open. Nevertheless, some scholarly examinations like Melinda Boyd’s publication Gendered voices. The “Liebesfrühling” Lieder of Robert and Clara Schumann try to answer this question using semiology as a method to indicate gender assignments. However, this raises the question of how far gender aspects can be examined through semiotic approaches. What symbols are used to specify gender? Did this change in history? And can these ascriptions be found in the music of Clara and Robert Schumann? The chosen method will show difficulties because of its time-constraint and the problem of relevancy. This is why the proposed theses of Boyd will be inspected regarding the text and the score of the song cycle Liebesfrühling. At the same time, the investigation will try to consider the importance of contemporary performance practice.

Verwandtes Objekt und Literatur
10.25366/2020.42
urn:nbn:de:bsz:14-qucosa2-725481
qucosa:72548

Thema
Musik
Schumann
Genderstudies
Semiotik

Ereignis
Geistige Schöpfung
(wer)
Link, Martin
Ereignis
Herstellung
(wer)
Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold

URN
urn:nbn:de:bsz:14-qucosa2-725803
Letzte Aktualisierung
14.03.2025, 08:16 MEZ

Datenpartner

Dieses Objekt wird bereitgestellt von:
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Objekttyp

  • Konferenzbeitrag

Beteiligte

  • Link, Martin
  • Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold

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