Abstract

“Fantasia” means “imagination” or “product of imagination”. In 16th and 17th century, the term was used interchangeably with other generic names like ‘prelude’ and ‘toccata’. After 18th century, fantasia developed into two types: one is like an introduction or a prelude, widespread in 18th century, usually appearing ahead of fugues, sonatas, and variations. The other type exists as an independent work, combines with other forms, including sonata form, suite, or single movement. This kind of fantasia prevailed from 18th to 20th century. An essential element of fantasia is its freedom from fixed form, so composers have more liberty in searching for different forms, structures, modulations, harmonies, melodies and rhythms.

Robert Schumann combines sonata form and fantasia style into the “Fantasia in C major Op.17” and he poured much emotion in it. This thesis contains five chapters discussing characteristics of this fantasia. The first chapter is about the motive and scope of this research. The second chapter discusses the history of keyboard fantasias between 18th to 20th century. Following the third chapter focuses on the historical background and the musical character of the fantasia in C major of Robert Schumann. The main content of chapter four is using charts to analyze the forms, phrasing, and modulation of each movement. Based on the conclusion of those elements I mentioned above, I provide my opinions in tempo, pedal, fingering, and technical solutions to performers. In combination with my practical playing experience and theories present in this thesis, the final chapter describes what I get from the process of my research.