Robert schumann was one of the romantic era composers that was arguably most connected to literature. his ambitions were in the literary field nearly as much as they were in music. listen to three (3) movements from robert schumann’s kinderscenen (scenes from childhood), which is available in the naxos music library, music of the romantic era playlist. scroll down the playlist to find robert schumann’s kinderscenen (scenes from childhood) for each chosen movement, provide the title of the movement, followed by your discussion on how the subject/topic is reflected in the music, and how schumann uses thematic unity, melody, and rubato/tempo. these four areas need to be present in your discussion: subject/topic how is the subject/topic reflected in the music? what sets the mood of each movement? thematic unity how does he achieve thematic unity? did you hear more than one theme? melody how would you describe the melody? is it lyrical or rhythmical? rubato/tempo does the tempo change during individual phrases? does it stay consistent? is there a natural sense of ebb and flow?

Buddhist painting from india, nepal, and tibetthe production of buddhist manuscripts illustrated with images of various buddhist deities and/or scenes from the life of shakyamuni flourished in bihar and bengal (present-day eastern india and bangladesh) under the rule of the pala dynasty (ca. 8th - 12th century). the illustrations of the gods that appear in these manuscripts were based on descriptions found in indian texts intended to the practitioner mentally invoke the form of the deity. these texts provide the artist with the basic schema of the image, detailing what an image should look like, from the posture, gesture, and color of the deity, to the attributes (objects he or she holds that symbolize specific powers or knowledge).similarities among the buddhist paintings in this section, which are from india, nepal, and tibet, stem from a variety of reasons. they include the continuous trade and contact provided by trade route linkages and the tendency of artists working abroad to emulate indian models, but the main reason is due to the fact that the gods' depictions in the art of all three countries are ultimately dependent upon the meditation texts described above. in addition, during the pala period, pilgrims, monks, and students from all over asia, but particularly from nepal and tibet, flocked to the region's prominent religious centers; when they returned home, they took the pala style with them in the form of portable items such as manuscripts and small sculptures.