Kösoğlu, Baturay2024-07-042024-07-042024-062024-062024-07-03https://hdl.handle.net/11693/115221Cataloged from PDF version of thesis.Thesis (Master's): Bilkent University, Department of Music, İhsan Doğramacı Bilkent University, 2024.Includes bibliographical references (leaves 70-71).Starting from the question of the purpose behind its composition, this thesis examines how Robert Schumann’s Piano Concerto Op. 54 synthesizes innovative ideas within a traditional framework and restructures the individual’s relationship with society within the context of romantic ideology. The theoretical framework of the thesis comprises two main chapters. The first chapter focuses on Schumann’s critical ideas on music and his reasons for composing this concerto. In the second chapter, the analysis of the work in terms of genre and style is conducted based on Hepokoski and Darcy’s sonata theory. This methodology has demonstrated the extent to which Schumann adhered to and deviated from classical formal principles in this concerto. The results indicate that Schumann’s creative vision reflects his efforts to rectify the tendencies that he criticized in contemporary piano concertos. As a result, Op. 54 is regarded as a cultural legacy representing Schumann’s endeavor to combine his innovative mindset with his respect for tradition. In a broader context, this concerto emphasizes a new individual-society relationship that supports the ideal of a collective unity.xi, 73 leaves : music ; 30 cm.Englishinfo:eu-repo/semantics/openAccessSchumannPiano Concerto Op. 54Sonata theoryThesisB125924