This article explores Schubert’s distinctive handling of the period theme-type, focusing on a particular kind of period that appears often in his Lieder: the idyllic period. Schubert’s idyllic periods are characterized by their symmetry, diatonicism, transparent voice-leading structure, simple piano texture, and association with poems about nostalgia and hopefulness. I analyze three representative idyllic periods in Schubert’s late songs: “Am Meer” (looking not only at the song itself, but also at its relation to the other Heine Lieder from Schwanengesang), “So lasst mich scheinen,” and “Am Fenster.” Collectively, these analyses reveal the diverse but related expressive connotations of this theme-type in Schubert’s music. Moreover, they suggest that Schubert’s musical evocations of naı̈veté and innocence demand as much scrutiny as his most radical experiments with tonality and form.

中文翻译：

---

舒伯特的田园诗时期

本文探讨舒伯特对时期主题类型的独特处理，重点关注经常出现在他的 Lieder 中的一种特殊时期：田园诗时期。舒伯特田园诗时期的特点是对称、全音阶、通透的声部结构、简单的钢琴质感，以及与怀旧和充满希望的诗歌的联系。我分析了舒伯特晚期歌曲中三个具有代表性的田园诗时期：“Am Meer”（不仅看歌曲本身，还看它与 Schwanengesang 的另一首 Heine Lieder 的关系）、“So last mich scheinen”和“Am Fenster”。 ” 总的来说，这些分析揭示了舒伯特音乐中这种主题类型的多样化但相关的表达内涵。而且，