John Daverio has argued that Schumann's music was criticized as incomprehensible by many early listeners because of his fragmentary approach to musical form. He proposed that, rather than shy away from the seemingly incomprehensible moments in Schumann's music and try to "neutralize" them through "analytical sophistry," we should confront them "head-on as constitutive aesthetic qualities of Schumann's oeuvre." In the present paper, I take on Daverio's challenge through an analysis of "Zwielicht," from the Eichendorff Liederkreis. I use Daverio's critical theory of the romantic fragment as a starting point for my discussion, but I explain how my use of the concept as an analytic tool differs from his.
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