Dissertations / Theses on the topic 'Brahms's Op'
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Kim, JongKyun. "The fundamental unity in Brahms's Horn trio, op. 40." connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3953.
Full textIngraham, Mary I. "Brahms's Rinaldo op.50 : a structural and contextual study." Thesis, University of Nottingham, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241108.
Full textChang, Yin-Ju. "A Performer's Guide to Brahms's Piano Sonata No. 2 Op. 2." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337718823.
Full textYang, Yu-Wen. "Metrical Dissonance in Selected Piano Pieces by Johannes Brahms, with Implications for Performance." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337102281.
Full textJohn, James A. "Johannes Brahms's Nänie, op. 82 : a study in context and content, in two volumes /." Digitized version, 2001. http://hdl.handle.net/1802/11182.
Full textIncludes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/11182
Lee, Ming-Wen. "Brahms's string quartet in C minor, op. 51, no. 1 : context, analysis and interpretive approaches /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11265.
Full textYang, Benjamin H. (Benjamin Hoh). "A Study of the Relationship Between Motive and Structure in Brahms's op. 51 String Quartets." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332309/.
Full textArendárik, Matej. "Klavírní kusy op.116 a op.118 Johannesa Brahmse." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79436.
Full textKim, JongKyun. "The Fundamental Unity in Brahm's Horn Trio, Op. 40." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3953/.
Full textDanijel, Nikolic. "Brahms F-moll sonat op. 120." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2474.
Full textTseliapniou, Kiryl. "Interpretační rozbor sonáty Es Dur op.120 č. 2 Johannesa Brahmse." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-392816.
Full textSchuhmacher, Gerhard. "Historische Dimensionen in den Händel-Variationen op. 24 von Johannes Brahms." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A38285.
Full textVannatta, Paul Edward Brahms Johannes. "A comparative study of Schoenberg's orchestration of Brahms' Piano Quartet, Op. 25 /." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1187283483.
Full textVannatta, Paul Edward. "A comparative study of Schoenberg's orchestration of Brahms' Piano Quartet, Op. 25." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1187283483.
Full textLiu, Cha-Lin. "Performance practice issues in Piano sonata no. 3 in F minor op. 5 by Johannes Brahms." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1417807671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full textRubio, Carrion Maria. "Performance and analysis of Brahms quintet op. 115 for clarinet and string quartet : Searching for a deeper interpretation." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4156.
Full textPetersdotter, Eriksson Karin. "Johannes Brahms sonat i F-moll op. 120 no. 1 : ett verk för viola eller klarinett?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1898.
Full textExamination:
J.S Bach, prelude ur svit no. 3 i C-dur för solo violaJ. Brahms, Allegro Appassionata ur sonat i F-moll op. 120 no. 1W. Walton, andante comodo ur konsert för viola och orkesterVid flygeln, Erik Lanninger
LEE, KYUNGJU. "AN ANALYSIS AND COMPARISON OF THE CLARINET AND VIOLA VERSIONS OF THE TWO SONATAS FOR CLARINET (OR VIOLA) AND PIANO OP 120 BY JOHANNES BRAHMS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1100760484.
Full textFiorini, Carlos Fernando 1970. "Um requiem alemão op.45 de Johannes Brahms : um processo no preparo de sua execução." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284260.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-25T22:36:57Z (GMT). No. of bitstreams: 1 Fiorini_CarlosFernando_M.pdf: 5182383 bytes, checksum: b49c0ab061fa9fd089cc0e3b639a8fa2 (MD5) Previous issue date: 1999
Resumo: Tendo em vista a preparação de um regente que se dispõe a executar um Réquiem Alemão op. 45 de Brahms, o presente trabalho sugere um processo para auxilia-los desde o primeiro contato com a partitura até a sua apresentação em concerto. Os capítulos são divididos em duas partes: A primeira refere-se à pesquisa teórica desenvolvida antes do início dos ensaios. São tratados separadamente em três capítulos os aspectos históricos, o texto e os elementos da estruturação musical. O quarto capítulo compõe a parte prática do trabalho, onde são discutidos os problemas de ordem técnica nos âmbitos vocal, coral e orquestral, e apresentadas sugestões a serem utilizadas nos ensaios. È o capítulo que na opinião do autor, justifica o esforço de realizar este trabalho, pois nele o regente pode encontrar registrado subsídios que possam auxilia-lo durante o contato com cantores e instrumentistas no preparo da obra
Abstract: Primarily addressed to the conductor who plans to perform A German Requiem op. 45 by Brahms, this work presents a study process that will assist him with the preparation of the composition from the very initial contact with the musical score to its ultimate public performance. Two parts comprise this work. The first, dealing with theoretical research developed prior to the first rehearsal, encompasses the first three chapters where historical perspective and background as well as text and structural musical elements of the work are studied separately. The second, constituted entirely by the fourth chapter, discusses technical problems in the vocal, choral and orchestral areas., and presents suggestions that could be useful in the course of rehearsals. It is the chapter that, in the opinion of the author, justifies all the effort of the present study. It is here where the conductor can find elements and subsidies that can be of help in the course of his relationship with singers and player engaged in the preparation of the work
Mestrado
Mestre em Artes
Huang, Hsin-Yi, and 黃馨儀. "A Study of Brahms's Cello Sonata, Op.99." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/26059660513725638660.
Full text輔仁大學
音樂研究所
100
Although we consider Johannes Brahms (1833-1897) as a composer of Romantic era today, he prefers to confine himself as a classicist. Brahms composed two sonatas for cello and piano. The first one is finished during his middle period, while the second one is during the late period of his life, each in very different styles. This study is focused on Brahms’ second sonata – “Cello Sonata in F Major, Opus 99”, with the attempt to explore its compositional background and writing techniques that are employed in the work. Detailed study of its music content and interpretation suggestions are also included.
Huang, Yujyun, and 黃鈺鈞. "Research for Brahms's Violin Sonata in G major,Op.78." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/68036335428459859419.
Full text國立臺中教育大學
音樂學系碩士班
99
The violin sonata was composed by the German composer Johannes Brahms (1833-1897) in 1877-1879. This music was composed in his later period, and it was also one of his representative chamber music. The violin sonata had three movements. The Construction of Musical form was very clear, and its character was shown by the rich harmonies, colorful voices, and continuously cantabile melodies. This violin sonata is one of the classical works which violin performers must learn, and I will discuss on the challenges and varieties for the performers to face and to make between music analysis and interpretation experiment on this dissertation, in order to express its unique value of the arts through analysis, to match the composer’s thoughts in interpretation, and also to express my personal style in performance.
"A study of Brahms's Romanzen aus Tieck's 'Magelone' op. 33." 2006. http://library.cuhk.edu.hk/record=b5893028.
Full textThesis (M.Phil.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references (leaves 165-170).
Abstracts in English and Chinese.
Abstract --- p.iv
Acknowledgements --- p.viii
List of Tables --- p.x
Introduction --- p.1
Chapter Chapter 1 --- The Genre of Song Cycle --- p.5
Chapter Chapter 2 --- Is Op. 33 a Song Cycle? --- p.34
Chapter Chapter 3 --- Lieder Performance in the Nineteenth Century --- p.49
Chapter Chapter 4 --- Analysis of Op.33 --- p.61
Chapter Chapter 5 --- Brahms and the Opera Problem --- p.109
Chapter Chapter 6 --- Opera and Op.33 --- p.124
Conclusion --- p.137
Appendix Poetic and Musical Structures of Op.33 --- p.141
Bibliography --- p.165
簡幸玲. "The Research and Interpretation of Brahms's Klavierstucke, op.118/The piano concert." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/21816062155497100202.
Full text東吳大學
音樂學系
91
The piano work opus 118 of Johannes Brahms (1833-1897) was written in 1983, which was during a period of time when the composer was grieving over the loss of close family and friends in his life. This music piece seems to reflect Brahms’ deep sorrow for the fragility of human life. This thesis will discuss this piano work in four chapters. By introducing the composer’s personality and life provides a background to understand his musical style and the lyrical tone color that is full of emotions. Music to Brahms was the most faithful media to expresses his abundant heart. In addition to the composer’s life, the thesis will include musical analysis of this piece. The uses of harmony, motive, dynamic, tempo, musical language, the interrelationship between the six pieces and the musical structure will be studied to develop a thorough understanding of the style of the later works of Brahms. Moreover, the third chapter focuses on performance practice and interpretation. Some interpretation matters such as tempo, tone color, dynamic, phrasing will be discussed. To conclude this thesis work, a summary of each chapter along with the author’s input in interpretation will be included in the last chapter. The concert program: D.Scarlatti:3 piano sonata k.394 k.208 k.15 L.V.Beethoven:piano sonata No.27,op.90 J.Brahms:6 klavierstucke op.118 I.Albeniz:Iberia Evocacion Rondena
Tu, Yunghsin, and 涂詠欣. "The Analysis and Interpretation of Johannes Brahms's 《Violin Sonata No.1 in G Major, Op. 78》." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/53565189899158318690.
Full text國立臺北教育大學
音樂學系碩士班
99
The purpose of this article is to make a deep and comprehensive of Brahms’s Violin Sonata No.1 in G Major, Op. 78. The article includes five chapters. In first chapter, the author describes the purpose, content, methods and steps of this studying. Second chapter introduces Brahms’s life and his compositional characteristics. Third chapter , the author provides his interpretation perspective according to Brahms’s compositional style and the analysis of this piece. The author also mentions the technique in performing this piece. The article ends in a summary of the studying of this piece.
Chang, Chia-Yu, and 張家瑜. "The Analysis and Performance Practices of Brahms's Sonata for Viola and Piano,Op.120 No.2." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/18868654149026341571.
Full text國立臺北教育大學
音樂學系碩士班
101
The main purpose of this research thesis is to present an analysis on the Sonata for Viola and Piano, Op. 120 No.2 by Johannes Brahms (1833-1897), written in 1894. Originally written as sonata for clarinet and piano, Brahms wrote a transcription himself for viola and piano later. Although this is a work of the Late Romantic Period, its neat structure and conservative style show Brahms’ persistence of the tradition. There are five chapters in this study. The first chapter is an introduction that explains the motive, the purpose, the content, as well as the methods of the study. The second chapter is a brief statement about the biography and musical style of Brahms, and the background of the sonata. Chapter three and four include the explicit analysis of the piece, and provide the opinion and suggestion of the interpretation. The final chapter is the conclusion of the study.
Wu, Wen-Chun, and 吳玟鈞. "Analysis and Interpretation of Johannes Brahms's Trio for Piano, Clarinet and Cello in A Minor, op. 114." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/14229492475856981313.
Full textHuang, Chin-Hui, and 黃勤惠. "The Analysis and Interpretation of Johannes Brahms's Sonata for Clarinet and Piano in f Minor No.1 Op.120." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/596f42.
Full text中國文化大學
音樂學系
105
Johannes Brahms (1833-1897) is a romanticism composer and pianist. In 1891 Meiningen, Brahms heard clarinetist Richard Mühlfeld’s performance, which impressed him and also attracted by his superb skills and the expression of music. This is why makes Brahms began composing series of clarinet works for Mühlfeld, including Trio for Clarinet ,Cello and Piano Op.114, Quintet for Clarinet, two Violins, Viola and Cello in b Minor, Op.115, and Sonatas for Clarinet and Piano, Op.120 No.1 & 2. All of these works are representative for clarinet repertoire. This thesis focuses on Johanns Brahms’s Sonata for Clarinet and Piano in f Minor, No.1 Op. 120. The thesis consists of five chapters. The first chapter introduces the motivations, objectives, scopes and methods of this reaserch. The second chapter would lead into the background of Brahms’s Sonata for Clarinet and Piano in f Minor, No.1 Op.120. The third and fourth chapter are analysis and interpretation of each section for a movement. The fifth chapter concludes by integrating the results obtained in the previous chapters with commentary.
Lin, Lu-Li, and 林律利. "LU-LI LIN PIANO RECITAL WITH A SUPPORTING PAPER A study on the Interpretation of Brahms's Four Piano Pieces, Op. 119 : text and context." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/97635791416051255877.
Full text國立交通大學
音樂研究所
99
The set of piano pieces Op. 119 is Brahms’s last solo piano work. With the understanding of the composer’s mental state deduced from the letters between Brahms, Clara and Robert Schumann, as well as from other related research, the paper integrates Brahms’s moods and thoughts during the last compositional years, as the lead-in to the center discussion on Op. 119. There are three main parts in this paper. First of all, observing the context in Brahms’s life: his encounters and correspondences with Clara and Robert Schumann, leading to further speculation on the life-long complex relationship between Brahms and Clara. Secondly, an analysis on the four pieces: a study integrating text and context. Finally, after reviewing the work’s overall compositional features and expressions in connection with its context, the paper will conclude by a discussion on the effect of text and context on performance interpretation.
Embry, Jessica L. "The Role of Organicism in the Original and Revised Versions of Brahms's Piano Trio in B Major, Op. 8, Mvt. I: A Comparison by Means of Grundgestalt Analysis." 2007. https://scholarworks.umass.edu/theses/28.
Full textLu, An-Ni, and 呂安妮. "The Interpretation and Research of Brahms’s Klavierstücke, Op. 118." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/27965284235191774927.
Full text台南女子技術學院
音樂研究所
94
About Brahms (Johannes Brahms , 1833-1897 ) , someone calls him a conservative musician; The view was also expressed that he is the forerunner. This seemingly contradictory but in fact it is not. Although his works have been linked with the traditional classical music, but also infuses into the new romanticism music elements. This article will take place through Brahms's personality and creative style, understand the impact of 118 works of piano pieces. And through the analysis of the melody and annotation explanatory note , probe into the style characteristic of the piano works in later period deeply. With the above illustrate, Brahms classical principles will be combined with the spirit of romanticism, forming his unique style of music, but also to Europe have a great contribution to the development of musical culture.
Shan, Chang Ning, and 張寧珊. "The Comparison betweenTwo Editions of Brahms’s Op. 8 (1854.1891)." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/31303566325085525685.
Full text國立臺南藝術大學
鋼琴伴奏合作藝術研究所
96
Brahms was a conscientious composer who had a cautious and highly self-controlled character. Through his strict criterion and aesthetics, he retained none but his best compositions. Therefore, the two versions of his Piano Trio in B Major, Op.8, composed in 1854 and 1891 respectively, are a special and even exceptional circumstance in Brahm’s musical catalogue. This unique composition is a study source for understanding Brahm’s musical style and outlook on composing, and a precious resource. This essay deals with the first movement of Piano Trio in B Major, Op.8, and analyzes the differences between the two versions in depth. The content includes two chapters: an introduction of Brahm’s life and compositional contexts of Op.8 in chapter one; and an elaboration, analysis and comparison of the two versions by means of four aspects -- tempo and time signature, theme and motif, phrase design in musical period, and instrumentation -- in chapter two.
Chi, Chen Pei, and 陳珮琪. "Johannes Brahms, Xwei Gesange, Op. 91." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/45903799533972549679.
Full textChung, Chia-yu, and 鍾佳諭. "Brahms Female Choral Works Op.17." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/85922502698448642798.
Full text國立中山大學
音樂學系研究所
90
Brahms is an important German romantic composer.In additional to his outstanding output in orchestral composition, he also finished thirty-four female choral pieces. Most of them were written during 1857-62, when he was still in Hamburg and dirdcting the Hamburg Women''s Chorus. Opus17 belongs to this category. It is for three-part female choir, with harp and horns as the accompaniment. It includes four short pieces, text in German, with the feeling of lament. The form is simple and clear. The texture is mostly choral. The melodies in each vocal part are not difficult; however, it is the harmonic color that gives this work its special taste. This thesis consists of five chapters. The first chapter is the introduction. The second chapter inclides three parts. Part one introduces the life of Brahms. Part two is the chronological discussion of Brahms choral composing. Part three focuses on the female choral works. The third chapter analyzes the four pieces of Brahms Opus 17. The fourth chapter presents suggestions for teaching Opus 17, including vocalization, interpretation, diction, and conducting technique. The fifth chapter draws conclusion from the study.
HUNG, HSIANG-NING, and 洪湘寧. "Research for Brahms “Fantasien op. 116 ”." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/y5rszc.
Full text國立臺中教育大學
音樂學系碩士班
102
Johannes Brahms was a ‘Classicalist’ during the romantic period. His Composition was firmly rooted in the structure and compositional techniques of the Baroque and Classical masters. He then developed the romanticism style leading to his very unique and personal style. His late piano musical works integrated with strong emotions that showed a different part of him from his past works. This study was based on Brahms’s “Fantasien op. 116” . Hence, by analyzing the structure of the music and in-depth interpretation of his other late character piece, the researcher intends to present the spirit and characteristic of Brahms’s works. The first chapter was to explore the musical style, experience and characteristics of the late character piece of Brahms. Chapter two is the study of the musical background and the approaches that had been applied in “Fantasien op. 116.” Chapter three places emphasis on the analysis of each movement and developments of the music. Chapter four is the opinions and suggestions that are made by the researcher based on her own experiences. Fifth chapter will serve as the conclusion of this paper.
Min-yu, Hsieh, and 謝敏玉. "Brahms Viola Sonata op.120, no.2." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/54268097075271545315.
Full textLin, Chung-Kuang, and 林中光. "Johannes Brahms' "Vier Ernste Gesaenge" Op. 121." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/44168422133880007984.
Full textSun, Min-I., and 孫旻翊. "The Studies of Johannes Brahms Fantasien,Op.116." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/81128912458561811530.
Full text輔仁大學
音樂研究所
97
Character Pieces are a staple of piano works of Romanic music in the 19th century. Robert Schumann’s Six Intermezzos, Op.4 and Felix Mendelssohn’s Capriccio, Op.5 are both examples of this genre. After the creation of sonata and variation, the German composer Johannes Brahms in his late lifetime also turned to character pieces to convey the deep meaning and emotion of music. Thus, piano pieces were the main music forms of his late piano works. Fantasien, Op.116 is one of his representative piano pieces in his late lifetime. This thesis is aimed to explore the character of this piece of work and to analyze the structure of it. By doing further study on this piano piece, the writer gains a better understanding of the deep meaning in Brahms’ piano piece and tries to offer some suggestions for playing the music.
Yeh, Pei-Jung, and 葉佩榕. "The Analysis of Brahms’ Four Ballades, Op. 10." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/a64pth.
Full text國立臺北教育大學
音樂學系碩士班
103
In the 19th century, the glorious era of Romantic times, Johannes Brahms（1833-1897） spent his teenage times for twenty years in the bar, year after year, he made many friends in art and music fields through his tour all over the Europe, all of these turned into the power of creation. And Brahms’ special music style between classical and romantic became a unique style in the 19th century. In different countries, different ages, there are so much different meanings for ballade from ancient times till present, the poetry in Medieval times to the instrumental music in Romanticism times. For this article, we are going to explore the ballade by Brahms in 19th century. First of all, we examined the Brahms lifetime to realize the background of his time and who affected him or what kinds of things inspired him. Secondly, understand the works of different styles in different four periods from general way, and then we entered the piano works in the chronological way. Finally, we analyzed the ballade op. 10 in depth. Preliminary, we analyzed the structure of music form, speed, time signature, modulation and harmonic progression for four different tunes. Furthermore, we try to find the motivation, sentence and paragraph to fathom the intention from composer and offered a suitable interpretation. Brahms’ 《Four Ballades, Op. 10, No. 1》, alias Edward Ballade. First part was based on the Scotland Narrative Poetry 〈Edward〉of German poet Johann Gottfried Herder’s Stimmem der Volker, this Narrative Poetry run through four ballades, even though the second, third and fourth part do not specify the meaning behind the ballades, but from the perspective of the emotion in the music, we could see the continuity of the story. Generally, it is worth to analyze the structure, tonality and the harmony of this ballade.
HO, CHIA-WEI, and 何家瑋. "A Study of J. Brahms’ “Quartette”, Op. 92." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/7g5rne.
Full text東吳大學
音樂學系
105
Brahms was a prolific composer and wrote in a variety of genres. His compositions include instrumental, vocal, piano, chamber, concerto and symphonic works. For Brahms, whose personality was conservative and serious, songs reflected the gentleness and sensibility of his inner world. Therefore, Brahms wrote art songs stably and continuously across four periods of his whole life. In terms of the number of songs, Brahms’ preference for vocal quartets but not vocal duets was obviously because of greater vocal ranges and plentiful harmonies of vocal quartets. “Quartette”, op.92 was one of the most quintessential vocal quartets wrote in Brahms’ late years. The thesis consists of six chapters. Chapter 1 is the introduction on research purpose, research subject and research methods. Chapter 2 introduces concisely the phenomenon of vocal ensembles and choruses in the Romantic period in Germany-Austria territory, and also introduces how the changes of society in Germany-Austria territory alter the musical compositions and types of performing arts. Chapter 3 introduces Brahms’ compositional career and important works in each period. Chapter 4 introduces the musical characters of Brahms’ vocal quartets. Chapter 5 analyzes the compositional approaches of “Quartette”, op.92 in aspect of tone colors, keys, harmonies, rhythms, tempos, dynamics, textures, styles, the relation between texts and music, articulations, work-paintings and piano accompaniments. Chapter 6 provides suggestions of performance, interpretations and rehearsal techniques based on the results of analysis in chapter 5.
Lin, Chao-hsin, and 林昭欣. "A Study of Brahms’ Three Intermezzi, Op. 117." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/6bks3q.
Full text國立中山大學
音樂學系研究所
106
Johannes Brahms (1833-1897) composed Fantasies, Op. 116, Three Intermezzi, Op. 117, Piano Pieces, Op. 118, Piano Pieces, Op. 119 during years of 1892 to 1893. There are fourteen of them titled Intermezzo among these twenty pieces in total. In his early compositional period, Brahms had employed the title of Intermezzo within the large-scale forms, such as the fourth movement of F Minor Piano Sonata No. 3, Op. 5, and Four Ballades, Op. 10-3. While compositions of piano character pieces flourishing in the nineteenth century, Brahms chose the simple formal structure as Intermezzo to describe his profound emotional world, which bringing a brand new exuberance for Romanticism. The research will concentrate on Brahms’ Three Intermezzi, Op. 117. There are three main chapters besides the preface and conclusion in this paper. The first chapter introduces Brahms’ life and musical experience; the second chapter discusses the historical background and the analysis of Brahms’ Three Intermezzi, Op. 117, including form, thematic materials, tonality, and the feature of developing variation technique. The third chapter focuses on exploring the interpretational thoughts of Brahms’ Intermezzos from the point of view of pianists, especially the poetic quotations suggested by Russian pianist Maria Yudina (1899-1970).
Hsu, Yu-cheng, and 許毓真. "The Study of Johannes Brahms’ Klavierstücke, op. 118." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/d6bce9.
Full text國立中山大學
音樂學系研究所
95
Johannes Brahms is an important composer of 19th Century German. His music style inherits from the classical form, symmetric equilibrium, and blend with the romantic spirit. His unique music language includes, “variable rhythm”, “transform, and combination of motive”, “extension, and transition of phrases”, as well as the “application of modulations, and cadences”. These unique characteristics make his music colorful. Although Brahms’ music does not have the brilliant techniques, and dramatic contrasts, but his work still finds its own position in the romantic period. In the later period of Brahms, his work breaks free from the prolonged, massive, and complicated scale, and transforms into the simple form with no technique emphasized piano pieces. During this period, Brahms’ music is written by his free and unrestrained ideas. Sometimes, he would combine some literature in order to reinforce the depth of music conception. Klavierstücke op. 118 is composed in 1893, it is published at the same time with op. 119. They are both the last piano pieces. In op. 118, lots of moods change in these 6 pieces, for example, passion, enthusiasm, tenderness, excitement, grace, sadness…etc, as if you are experiencing one person’s life. Brahms connects different kinds of emotions together to allow audience experience all these feelings within one time. The first chapter of this thesis is to briefly go through the influence, and importance of Brahms in the music history, and to introduce the important piano pieces in each period. The second chapter is to analyze the music structure, theme, motive, harmony, and modulations of Klavierstücke op. 118. The focus of third chapter is on the performance practice of expression marks, characteristics of each voice, and the application of pedal.
Lu, Yi-Ju, and 陸怡如. "An Analysis and Interpretation of Johannes Brahms’s Lieder und Gesänge, Op. 63." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/tdf34c.
Full text國立臺南藝術大學
鋼琴合作藝術研究所
106
The German composer, Johannes Brahms (1833-1897) composed a great variety of works throughout his life. He had written more than two hundred fifty Lieders, making him one of the most productive Lieder composers in the late nineteenth century. The main aim of this thesis was to investigate “Lieder und Gesänge, Op. 63”, a group of nine Lieders. ‘Junge Lieder I: Meine Liebe ist grün’ and ‘Heimweh II: O wüsst’ ich doch den Weg zurück’ are the most commonly performed Lieders out of the nine songs. For this song-group, Brahms selected texts which were written by three different poets: Max von Schenkendorff, Felix Schumann and Klaus Groth. Their poems are full of reminiscence of past loves and nostalgia for childhood. The music features strong folksong styles, rich harmony and complicated exchanging of rhythms. This thesis is divided into five chapters. Chapter one is an introduction of the motivation and methodology. Chapter two, describes the life and style in different periods of the composer. Chapter three contains brief biographies of the three poets. Chapter four, consists of the translation of the lyrics, analysis of the forms, the correlations between the lyrics, and the music and interpretation of the song-group from the viewpoint and experience of a collaborative pianist. The last chapter sums up the contents of this thesis.
YANG, TSAI-HSIN, and 楊采欣. "An Analysis and Interpretation of Johannes Brahms’s Eight Piano Pieces, Op. 76." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/ckk2g3.
Full text余彩雯. "Johannes Brahms' Juchhe! Op.6, No.4 Lerchengesang Op.70, No.2 Auf dem Schiffe Op.97, No.2." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/54122881072228632148.
Full textTseng, Yen-Wei, and 曾彥惟. "Research and Interpretation of Johannes Brahms’s Violin Sonata in G Major, Op. 78." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/37626248029922651238.
Full text國立臺灣藝術大學
音樂學系
103
This article aims at giving a complete analysis of the work Violin Sonata in G Major, Op. 78, by Johannes Brahms. Using the stories of Brahms and his compositional techniques, the writer gives a more in depth analysis of the composer’s style and form, in additional to suggest a more suitable rendition of the sonata, expecting to perform with the intention that matches composer’s. There are five chapters. The first chapter includes the writer’s motives, purpose, of studying the composition and the research methods. The second chapter introduces Brahms life, compositional style, and his string compositions in particular. The third chapter delves into the analysis of the work, including its form, tonality, harmonies, rhythms, and the composer’s motives and ways to compose it. The forth chapter is about performance rendition, discussing the use of the appropriate techniques and how the performers should establish chemistry with each other. In addition, based on Brahms compositional style the writer provides suggestions about appropriate techniques and rendition of the pirece. The fifth chapter gives a summary of the reseach process and talks about how he gains from the experience.
Hsu, Wei-Ying, and 許偉瑛. "Brahms Violin Sonata No.3 Op.108 D minor." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/15081789512614413721.
Full textCheng, I.-Ju, and 鄭伊茹. "An Analysis and Interpretation of Brahms'' Balladen Op.10." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/36249414231307141193.
Full textChang, Hsin-yin, and 張馨尹. "A Study of Zigeunerlieder Op.103 by Johannes Brahms." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/31763032147211604716.
Full text國立臺南大學
音樂學系碩士班
98
The thesis is an analysis of the Zigeunerlieder Op.103 by Johannes Brahms. In helping performers and educators understand this song cycle in greater depth, this thesis offers theoretical references and musical interpretation of the composition. Chapter two of this thesis explains the development, characteristics and music forms of German art songs. Through the discussions of the life of Johannes Brahms in chapter three, the readers would gain a better understanding of the background of Brahm’s era and the origin and ideas of his works. The rhythm pattern and music form of the Gypsy music is summarized through the discussions of the origin and development of Gypsy music in chapter four. This chapter also analyzes the Gypsy music elements been used in this composition. The comprehensive analysis of this composition including of music form, structure, melody, and harmony is elaborated in chapter five. It offers a detailed reference in music theory and musical interpretation to the performers. Finally, chapter six provides the summary of the thesis.
Chen, Hsuan-Jung, and 陳宣蓉. "An Analysis and Interpretation of Brahms’ Ballades, Op.10." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/t3btnd.
Full text國立臺灣師範大學
音樂學系
106
Johannes Brahms (1833-1897) was under the influence of the Romantic School but studied meticulously works from Baroque and the Classical Antiquity under the guidance of his mentor, Eduard Marxsen (1806-1887), establishing a solid foundation and rigorous attitude for his lifetime of works, and consequently forming an exceptional music style at the time. Brahms' piano solo works could be divided into three stages. In the early stage, they were mainly sonatas. In the middle stage, he turned to compose variations. In his later years, the piano solo pieces consisted of short pieces. The paper analyzes Ballades, Op.10– a piece of early works that detached from the style of sonata but still carries the property of late short pieces, making this piece quite peculiar. Ballades, Op.10 is constituted by four ballades, and in particular Brahms specifically noted in the first ballade as a piece inspired by Scottish ballade Edward, which turned into the first piano ballade the composer expressing the source of inspiration in person. The paper first provides a comprehensive overview on the piano works and characteristics by Brahms in addition to briefly describing the origin and context development of the term – ballade, followed by analyzing the scope of Brahms’ Ballades. The background of creation for the work is used to understand the mental statement of Brahms during the composition at the time. Finally the paper discusses the significance of Brahms consolidating four completely different ballades into one published piece while integrating the information from the analysis and the performance experience of the researcher to propose better interpretation for this work.
Huang, Ya-Yin, and 黃雅音. "Research and Performing Interpretation ofJohannes Brahms Waltzes, Op. 39." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/y8ctvg.
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