Clara Schumann: A systematic examination of her piano pedagogy and its application in current practice

这个项目将考察克拉拉·舒曼的学术但创造性的教学方法，以及如何将其应用于当前的实践中，以增强未来几代钢琴学生的学习体验。我将使用一种混合的方法，将历史研究与实践主导的方法相结合-后者涉及表演和教学-利用历史档案文件、录音分析、同时代乐器(包括19世纪50年代的维克钢琴)和版本。克拉拉·舒曼(Clara Schumann，1819-1896)作为钢琴家、作曲家和教育家，在十九世纪的音乐文化中发挥了不可或缺的作用。尽管她的职业生涯不仅被她的丈夫罗伯特·舒曼黯然失色，而且她的父亲弗里德里希·威克在教育方面的成功也让她黯然失色。虽然人们对克拉拉·舒曼的作品兴趣高涨(由她的两个百年纪念推动)，但她的教学影响和方法仍然在很大程度上被忽视，尽管她教授了当时许多伟大的钢琴家。克拉拉·舒曼的学派在文献中经常被提及(方，1978和杨，2010)，但引用缺乏具体细节。利用克拉拉·舒曼的学生--特别是范妮·戴维斯(1930年)、阿德琳娜·德·拉拉(1951)和卡尔·弗里德伯格(1953)--的录音，以及对她自己的钢琴作品、编辑补充(出版和手稿)和她教学的第一手描述的审查，这个项目将系统地研究克拉拉·舒曼的教学方法。这些方面的表现将在现代和历史的钢琴上进行测试。作为一名教育者，我将把这些发现应用到我自己的实践中。切尔滕纳姆学院已经同意参与这项研究，通过重塑克拉拉·舒曼的教学环境来评估她的教学方法是否有利于现有的教学体系，从而使人们能够更深入地探索克拉拉·舒曼的教学理念。我的音乐学院教育为这个项目提供了理想的经验范围：我在皇家伯明翰音乐学院(RBC)的最后一个BMUS(Hons)项目专注于现代钢琴教育学。我的音乐学硕士最初对克拉拉·舒曼的教育学产生了兴趣，最明显的是通过我的论文《克拉拉·舒曼作为钢琴教育者》以及一个历史演奏模块，这两个模块都专门用作我博士项目的前奏。此外，我还在BFE/RMA研究型学生会议上发表了论文(11/01/19和09/01/20)，并获得了《漫长十九世纪的欧洲音乐女性》的论文(26/02/20)。这些已经并将继续提供机会来分享我的研究，并体现出人们对这个项目的浓厚兴趣。

This project will examine Clara Schumann's academic, yet creative, approach to teaching and how its application in current practice can be used to enhance learning experiences for future generations of piano students. I will use a mixed methodological approach combining historical research with practice-led methods - the latter involving both performance and pedagogy - drawing upon historical archival documents, recording analysis, contemporaneous instruments (including the 1850s Wieck piano) and editions. Clara Schumann (1819-1896) played an integral role in the musical culture of the nineteenth century as a pianist, composer and pedagogue. This is despite her career being overshadowed not only by her husband Robert Schumann, but also by the pedagogical success of her father, Friedrich Wieck. Although there has been an upsurge in interest for Clara Schumann's work (promoted by her bi-centenary) her pedagogical impact and methods are still largely overlooked despite her teaching many of the great pianists of the time. Clara Schumann's School is often referred to in literature (Fang, 1978 and Yang, 2010) but references lack specific details. Using recordings made by Clara Schumann's students - in particular Fanny Davies (1930), Adelina de Lara (1951) and Carl Friedberg (1953) -alongside an examination of her own works for piano, editorial additions (published and manuscript) and first-hand accounts of her teaching, this project will systematically investigate Clara Schumann's pedagogical methods. The performance of these aspects will be tested on modern and historical pianos. I will apply the findings in my own practice as a pedagogue. Cheltenham College has agreed to participate in this research, enabling a deeper exploration of Clara Schumann's teaching philosophies, by recreating aspects of her teaching environment to evaluate whether her approaches will benefit current teaching systems.My Conservatoire education has provided the ideal range of experience for this project: my Final BMus (Hons) project at Royal Birmingham Conservatoire (RBC) focused on modern piano pedagogy. My MA in Musicology developed this initial interest in Clara Schumann's pedagogy most notably through my dissertation, 'Clara Schumann as Piano Pedagogue' alongside a historical performance module, both of which were used specifically as a prelude to my doctoral project. Furthermore, I have presented papers at the BFE/RMA Research Students' Conference (11/01/19 and 09/01/20) and have a paper accepted for 'Musical Women in Europe in the Long Nineteenth Century' (26/02/20). These have and will continue to provide opportunities to share my research and exemplify the significant interest for this project.