The use of the mental status examination (MSE) in fictional characters when interpreting and performing the music of Schumann and Bartók by Rinde Louise WIllemijn Yildiz

Name: Rinde Yildiz  Main Subject: Viola Research Coach: Anna Scott Title of Research: The use of the mental status examination (MSE) in creating fictional characters when interpreting and performing the music of Schumann and Bartók Research Question: How would the MSE of the fictional characters that I create in musical compositions, in combination with relevant biographical information of the composer and scores, influence how I understand, practice and perform Béla Bartók’s Viola Concerto (Op. posthoumus, Tibor Serly Edition) and Robert Schumann’s Märchenbilder (Op. 113) Summary of Results: In order to examine how the MSE of fictional musical characters, in combination with relevant biographical information and scores, influences how I understand, practice and perform Béla Bartók’s Viola Concerto (Op. posthumous) and Robert Schumann’s Märchenbilder (Op. 113) I kept up a logbook to write down all the steps I took during this investigation. The results of this research paper are divided over four layers. Layer one: the biographical information of Schumann and Bartók gained from books, articles and letters; Layer two: a rough interpretation of Schumann’s Märchenbilder and Bartók’s Viola Concerto based on reading scores, examining the manuscripts, playing and listening to various recordings, in combination with biographical information. Layer three: a thorough MSE of the fictional characters that are created in specific sections of Schumann's Märchenbilder and Bartók’s Viola Concerto. Layer four: using the MSE of fictional characters during interpreting, practice and performance and make recordings to find out if there are differences between interpretations before and after the incorporations of fictional characters. During this research I found that the creation and incorporation of fictional characters influenced my playing in such a way that I concretized my interpretations. As a result, I was able to pay more attention to all the details of the piece and to have a clearer image of phrasing. Furthermore, using and experimenting with the MSE meant that I broadened my imaginary palette. Biography: Rinde Yildiz (1991) is a second-year master student at the Royal Conservatoire in The Hague where she studies classical viola with Mikhail Zemtsov. During her studies she has been playing in various music groups and formed different ensembles. Besides her studies in music, she studied medicine at the University of Amsterdam where she received her bachelor and master degrees in June 2014 and April 2019 respectively. Concerning her medical studies, Rinde has special interest in the psychiatric branch. Having a background in both medicine and music, she is fascinated in subjects where both fields can be connected.

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Name: Rinde Yildiz  Main Subject: Viola Research Coach: Anna Scott Title of Research: The use of the mental status examination (MSE) in creating fictional characters when interpreting and performing the music of Schumann and Bartók Research Question: How would the MSE of the fictional characters that I create in musical compositions, in combination with relevant biographical information of the composer and scores, influence how I understand, practice and perform Béla Bartók’s Viola Concerto (Op. posthoumus, Tibor Serly Edition) and Robert Schumann’s Märchenbilder (Op. 113) Summary of Results: In order to examine how the MSE of fictional musical characters, in combination with relevant biographical information and scores, influences how I understand, practice and perform Béla Bartók’s Viola Concerto (Op. posthumous) and Robert Schumann’s Märchenbilder (Op. 113) I kept up a logbook to write down all the steps I took during this investigation. The results of this research paper are divided over four layers. Layer one: the biographical information of Schumann and Bartók gained from books, articles and letters; Layer two: a rough interpretation of Schumann’s Märchenbilder and Bartók’s Viola Concerto based on reading scores, examining the manuscripts, playing and listening to various recordings, in combination with biographical information. Layer three: a thorough MSE of the fictional characters that are created in specific sections of Schumann's Märchenbilder and Bartók’s Viola Concerto. Layer four: using the MSE of fictional characters during interpreting, practice and performance and make recordings to find out if there are differences between interpretations before and after the incorporations of fictional characters. During this research I found that the creation and incorporation of fictional characters influenced my playing in such a way that I concretized my interpretations. As a result, I was able to pay more attention to all the details of the piece and to have a clearer image of phrasing. Furthermore, using and experimenting with the MSE meant that I broadened my imaginary palette. Biography: Rinde Yildiz (1991) is a second-year master student at the Royal Conservatoire in The Hague where she studies classical viola with Mikhail Zemtsov. During her studies she has been playing in various music groups and formed different ensembles. Besides her studies in music, she studied medicine at the University of Amsterdam where she received her bachelor and master degrees in June 2014 and April 2019 respectively. Concerning her medical studies, Rinde has special interest in the psychiatric branch. Having a background in both medicine and music, she is fascinated in subjects where both fields can be connected.
Rinde Louise WIllemijn Yildiz - The use of the mental status examination (MSE) in fictional characters when interpreting and performing the music of Schumann and Bartók - 2023
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TABLE OF CONTENTS

INTRODUCTION

CHAPTER I: RESEARCH QUESTION AND METHODOLOGY

CHAPTER II.a: SCHUMANN - LAYER ONE

CHAPTER II.b: SCHUMANN- LAYER TWO

CHAPTER II.c: SCHUMANN - LAYER THREE

CHAPTER II.d: SCHUMANN - LAYER FOUR

CHAPTER III.a: BARTÓK - LAYER ONE

CHAPTER III.b: BARTÓK - LAYER TWO

CHAPTER III.c: BARTÓK - LAYER THREE

CHAPTER III.d: BARTÓK - LAYER FOUR

CHAPTER IV: CONCLUSION

AKNOWLEDGEMENTS

BIBLIOGRAPHY

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