Conference Agenda
The Online Program of events for the 2026 AMS Annual Meeting appears below. This program is subject to change. The final program will be published in early November.
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Daily Overview |
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Analysis in Romantic Music Session Chair: Michael Weinstein-Reiman, University of Wisconsin–Madison | |
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Hermeneutic Keys to Deflective Structural Praxis in Schubert's Late Instrumental Music University of London Hermeneutic Keys to Deflective Structural Praxis in Schubert's Late Instrumental Music Many works in Schubert's late instrumental music (1824-1828) contain striking expressive detours and unforeseen courses of structural action. Studies in Schubert's sonata forms by Peter Gülke and James Webster discuss Schubert's distinctive three-key exposition as related to song form, a description underscored by long, lyrical sections closer to Lied than to motivic models of sonata design in Haydn and Beethoven. Beyond song description as formal pattern, this paper proposes two hermeneutic keys to help uncover Schubert's instrumental praxis. One is the underworld, the Romantic 'topos' of haunting: the oppressive threat in nightmares and dreams which crosses the boundaries of consciousness. This 'topos' takes Erlkönig as case study, as the interpolation of the underworld into the 'overworld' of physical reality, reflecting back Freud's essay 'The Uncanny' as psychological contour onto Schubert's instrumental praxis. The second hermeneutic key is the juncture. Instead of expected tonal direction in a sonata exposition, at the threshhold to the second subject Schubert either switches track by an enharmonic or shared pitch-hinge, as in the 1st movement of the B flat piano trio, Op. 99 recreating time past, or uses a semitone displacement, as in the haunted B minor section interpolated into the 1st movement of the E flat piano trio, Op. 100. As distinct from the work of Christopher Gibbs, Suzannah Clark and Kristina Maxfeld, Freud's psychological models of trauma, described in 'The Uncanny' and 'The Interpretation of Dreams', help unlock both hermeneutic keys: the underworld and as the juncture between expressive domains. The contours of trauma are transformed into structural praxis – as dislocation, interpolation, and, like Proust's time past, into the recourse to memory. The paper considers how these hermeneutic keys impacted both the tonal landscape and course of structural action in some of Schubert's greatest late instrumental works, from the 'Unfinished' symphony to the C major string quintet. | |