Bibliografías temáticas / Brahms, Johannes, Music theory

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Literatura académica sobre el tema "Brahms, Johannes, Music theory"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 10 de febrero de 2022

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Artículos de revistas sobre el tema "Brahms, Johannes, Music theory"

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Exner, R. y Hans Mayer. "Ein Denkmal für Johannes Brahms: Versuche über Musik und Literatur". World Literature Today 59, n.º 1 (1985): 90. http://dx.doi.org/10.2307/40140641.

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Newbould, Brian. "RECORDINGS: Johannes Brahms". Early Music XX, n.º 2 (mayo de 1992): 366. http://dx.doi.org/10.1093/earlyj/xx.2.366.

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KAHN, ROBERT. "Recollections of Johannes Brahms". Musical Quarterly 74, n.º 4 (1990): 601–9. http://dx.doi.org/10.1093/mq/74.4.601.

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Ehrhardt, Damien, Hans von Bülow, Hans-Joachim Hinrichsen y Hans von Bulow. "Die Briefe an Johannes Brahms". Revue de musicologie 82, n.º 1 (1996): 192. http://dx.doi.org/10.2307/947213.

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Musgrave, Michael. "Review: Johannes Brahms: Life and Letters". Music and Letters 83, n.º 2 (1 de mayo de 2002): 307–13. http://dx.doi.org/10.1093/ml/83.2.307.

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Petersen, Peter. "Über das "Triumphlied“ von Johannes Brahms". Die Musikforschung 52, n.º 4 (22 de septiembre de 2021): 462–66. http://dx.doi.org/10.52412/mf.1999.h4.911.

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Mit Bezug auf die strittige Textstelle aus der Apokalypse 19,2 ("daß er die große Hure verurtheilet hat") wird nachgewiesen, dass Johannes Brahms ein prosodisch korrektes Instrumentalthema entworfen und durchgeführt und dabei die sprachliche Fassung der Bibeln vor 1870 verwendet hat. Die alte Auffassung, dass das Hauptthema des 1. Satzes eine Variation der Hymne <Heil Dir im Siegerkranz> ist, kann bestätigt werden, weil die beiden Melodien im auch sonst von Brahms verwendeten Tripla-Verhältnis stehen.
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Doherty, Brian. "The Organ Music of Johannes Brahms (review)". Notes 64, n.º 3 (2008): 502–5. http://dx.doi.org/10.1353/not.2008.0015.

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Geiringer, Karl y Margit L. McCorkle. "Johannes Brahms: Thematisch-bibliographisches Werkverzeichnis". Notes 42, n.º 2 (diciembre de 1985): 289. http://dx.doi.org/10.2307/897428.

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Knapp, Raymond, Styra Avins y Josef Eisinger. "Johannes Brahms: Life and Letters". Notes 55, n.º 4 (junio de 1999): 910. http://dx.doi.org/10.2307/899600.

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Pacun, David. "The Variations of Johannes Brahms (review)". Notes 62, n.º 2 (2005): 401–3. http://dx.doi.org/10.1353/not.2005.0144.

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Tesis sobre el tema "Brahms, Johannes, Music theory"

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Yun, Xiao. "Tonal Enigmas: A Study of Problematic Openings and Endings". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248491/.

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When talking about tonal music, we sometimes tend to take for granted the idea that the tonic should always be clearly established either at the beginning or the end. However, there are composers who sometimes deviate from the normal path by creating different types of riddles or tonal enigmas in their works. Some of these riddles can be solved later on as the piece progresses; yet others may need to bexplained with the help of some external references. This thesis examines three such examples, each of which poses its unique enigma. The second movement of Bruckner's Symphony No. 1 presents a dualism between Ab and F (paralleled by their dominants Eb and C); Brahms's Alto Rhapsody involves an enormous auxiliary cadence spanning 2/3 of the piece and a seemingly plagal cadence which turns out to be authentic with the V suppressed; and eventually, Grieg's setting of Dereinst, dereinst, Gedanke mein provides a paradoxical ending which may be understood as incorporating the composer's attitude towards the text.
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Chen, Yu-Ting. "Brahms, the early choral music heritage and his piano music /". Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11206.

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Ennis, Martin William. "Recomposition in the music of Johannes Brahms". Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315740.

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Littlewood, Julian. "Johannes Brahms : theory and practice of variation form". Thesis, King's College London (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405590.

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Papadopoulos, George-Julius. "Johannes Brahms and nineteenth-century comic ideology /". Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11241.

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Lee, Young Jae. "An analysis of the Violin concerto of Johannes Brahms /". Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11207.

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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.

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Brown-Kibble, Gennevieve Loren. "The "Alto Rhapsody" of Johannes Brahms: A synthesis of technique and expression". Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/289179.

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In the name of scholarship, there has been a tendency to either downplay or ignore all together the emotional aspects that are often the driving force of creative undertakings. One does not have to do this with the music of Brahms, because expression and technique are not mutually exclusive. This study examined the integral connection between personal experience, text and music that is demonstrated so uniquely and emphatically in the Alto Rhapsody. The study began with a description of key events that shaped the musical and personal life of the composer: from the launching of his career in 1853 to the writing of his Alto Rhapsody in 1869. Brahms's relationship to the text of the Rhapsody, three central stanzas from Goethe's Harzreise im Winter, was discussed. The music was analyzed under the categories of formal design, texture, and motion. Each category featured a comparison between the Brahms setting and the earlier one which inspired it: Johann Friedrich Reichardt's 1790 version. Analysis of the formal design began by weighing the personal factors that influenced the two Rhapsodies . The means by which vocal and instrumental textures were used to enhance textual meaning were evaluated. The musical analysis concluded with a description of rhythmic, melodic and harmonic motion employed in the Alto Rhapsody. Viewed as a synthesis of personal experience, text and music, the Alto Rhapsody provided a unique opportunity to gain insight into various features of the composer and his art. This study explored the aspects of contrast, balance and emotional expression. Analysis of Brahms's Alto Rhapsody revealed significant relationships between the composer, his chosen text and the musical materials and methods used to compose the work. An understanding of these relationships can serve as the basis for informed interpretation, effective rehearsal and expressive performance.
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Wang, Sean Yung-hsiang. "Lost in time : the concept of tempo and character in the music of Brahms /". May be available electronically:, 2008. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Seymour, Rebecca. "Issues of performance practice in the violin works of Johannes Brahms (1833-1987) /". [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19278.pdf.

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Libros sobre el tema "Brahms, Johannes, Music theory"

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Johannes Brahms und Anton Bruckner im Spiegel der Musiktheorie: Bericht über das internationale Symposion St. Florian 2008. Göttingen: Hainholz, 2011.

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1833-1897, Brahms Johannes y Schumann Robert 1810-1856, eds. Johannes Brahms. Hamburg: Ellert & Richter, 2006.

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Owen, Barbara. The organ music of Johannes Brahms. New York, NY: Oxford University Press, 2007.

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Lienau, Robert. Unvergessliche Jahre mit Johannes Brahms. Berlin: Musikverlag Robert Lienau, 1990.

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Bülow, Hans von. Die Briefe an Johannes Brahms. Tutzing: Schneider, 1994.

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Hofmann, Renate. Johannes Brahms in Baden-Baden. Karben: CODA, 1996.

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Die Coda bei Johannes Brahms. Hamburg: K.D. Wagner, 1986.

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The music of Brahms. London: Routledge & Kegan Paul, 1985.

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The music of Brahms. Oxford: Clarendon Press, 1994.

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Kraus, Detlef. Johannes Brahms, composer for the piano. Wilhelmshaven: F. Noetzel, Heinrichshofen-Books, 1988.

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Capítulos de libros sobre el tema "Brahms, Johannes, Music theory"

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Cook, Karen M. "Introducing Johannes Pipardi". En Music Theory in Late Medieval Avignon, 57–85. London: Routledge, 2021. http://dx.doi.org/10.4324/9780367691295-5.

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"Vocal Music". En Johannes Brahms, 243–92. Routledge, 2004. http://dx.doi.org/10.4324/9780203504444-11.

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"Keyboard Music". En Johannes Brahms, 213–42. Routledge, 2004. http://dx.doi.org/10.4324/9780203504444-10.

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"JOHANNES BRAHMS". En The Classical Music Lover's Companion to Orchestral Music, 110–36. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.13.

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Owen, Barbara. "Brahms as Revisor". En The Organ Music of Johannes Brahms, 41–50. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195311075.003.0003.

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Owen, Barbara. "The Organ in the Life of Brahms". En The Organ Music of Johannes Brahms, 3–32. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195311075.003.0001.

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Owen, Barbara. "Bach, Counterpoint, and Chorales". En The Organ Music of Johannes Brahms, 33–40. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195311075.003.0002.

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Owen, Barbara. "The Early Works". En The Organ Music of Johannes Brahms, 53–76. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195311075.003.0004.

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Owen, Barbara. "The Eleven Chorale Preludes". En The Organ Music of Johannes Brahms, 77–120. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195311075.003.0005.

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Owen, Barbara. "Interpretation". En The Organ Music of Johannes Brahms, 121–38. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195311075.003.0006.

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Actas de conferencias sobre el tema "Brahms, Johannes, Music theory"

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Ribeiro, Estela y Carlos Eduardo Thomaz. "A multivariate statistical analysis of EEG signals for differentiation of musicians and non-musicians". En XV Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2018. http://dx.doi.org/10.5753/eniac.2018.4442.

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It is possible to reveal whether a subject received musical training through the neural activation patterns induced in response to music listening. We are particularly interested in analyzing the brain data on a global level, considering its activity registered in electroencephalogram electrodes signals. Our experiments results, with 13 musicians and 12 non-musicians who listened the song Hungarian Dance No 5 from Johannes Brahms, have shown that is possible to differentiate musicians and non-musicians with high classification accuracy (88%). Given this multivariate statistical framework, it has also been possible to highlight the most expressive and discriminant changes in the participants brain according to the acoustic features extracted from the audio.
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