This article considers and analyses the work ‘Six Etudes in Canon form’ by the German composer, music critic and pedagogue, representative of the Romanticism era - Robert Schumann. It is studied that the etudes were written by Schumann for an old-fashioned instrument - a piano with an added foot keyboard, and later were edited by Claude Debussy for 2 pianos.
It is examined the history of 6 etudes and their relationship to the organ. How concepts of genres have changed over some hundred years, and discussed how this work manages to combine these two genres. Also noted the time when the composer wrote these etudes and how his fascination with polyphony came about. The notion of ensemble performance is summarized, and it is shown that its role in the 19th century differs from that in the 18th century in that the ensemble is no longer of a salon nature but is considered a serious concert genre.
It concludes with an analysis of each of the six etudes: their tonal plan, form, texture, means of expression, harmony and character.
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