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1
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.
2
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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7
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.
9
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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Molina, Marcela. "The Use of Chorale in the Motets of Johannes Brahms: Plurality of Musical Languages". Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301695.
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This document examines the chorale settings found in the motets of Johannes Brahms in order to illustrate how Brahms draws upon the chorale settings of Bach's motets and cantatas. By incorporating progressive nineteenth-century idioms into the chorales of his motets, Brahms not only referenced Bach's works, but also further developed the motet genre. I will demonstrate, through the approach of plurality of musical languages, that Brahms's use of chorales in his motets, while referencing Bach's motet and cantata models, creates a new motet style that is distinctively Brahms's. The four motets included in this study due to their use of chorale are "Es ist das Heil uns kommen her," op. 29, no. 1; "Warum ist das Licht gegeben dem Mühseligen," op. 74, no. 1; "O Heiland, reiss die Himmel auf," op. 74, no. 2; and "Ach, arme Welt," op. 110, no. 2.
12
Livshits, Mark Lionel. "THE FIRST PIANO CONCERTO OF JOHANNES BRAHMS: ITS HISTORY AND PERFORMANCE PRACTICE". Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/463222.
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Music PerformanceD.M.A.
In recent years, Brahms’s music has begun to occupy a larger role in the consciousness of musicologists, and with this surge of interest came a refreshingly original approach to his music. Although the First Piano Concerto op. 15 of Johannes Brahms is a beloved part of the standard piano repertoire, there is a curious under-representation of the work through the lens of historical performance practice. This monograph addresses the various aspects that comprise a thorough performance practice analysis of the concerto. These include pedaling, articulation, phrasing, and questions of tempo, an element that takes on greater importance beyond just complicating matters technically. These elements are then put into the context of Brahms’s own pianism, conducting, teaching, and musicological endeavors based on first and second-hand accounts of the composer’s work. It is the combining of these concepts that serves to illuminate the concerto in a far more detailed fashion, and ultimately enabling us to re-evaluate whether the time honored modern interpretations of the work fall within the boundaries that Brahms himself would have considered effective and accurate.
Temple University--Theses
13
Maluf, Shireen. "Paths not taken : structural-harmonic ambiguities in selected Brahms Intermezzi". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23342.
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One of the remarkable features of Brahm's B-flat major Intermezzo for piano, Op. 76, no. 4 is the ambiguity of its tonal definition. The work disclosed a contrapuntal tension between its fundamental structural-harmonic organization, which is based on an incomplete harmonic progression (V7-I), and its more remote intermediary tonal areas, which Brahms implies throughout the Intermezzo but to which he never wholly commits.The aim of this investigation is to illustrate how tonal ambiguity is achieved though recurrent "incompletions" of the expected (or at least the more likely) harmonic progressions. The thesis undertakes a detailed study of Brahms' Intermezzo, Op. 76, no. 4, in B-flat major, with additional reference to the openings of Opp. 118, no. 1 (A minor); 118, no. 6 (E-flat minor); 119, no. 1 (B minor); 117, no. 2 (B-flat minor) and 76, no. 8 (C major). The study combines a Schenkerian linear-reductive approach with observations based on phenomenology--after Leonard Meyer and David Lewin--and narrative, after Edward T. Cone.
14
Liu, 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.
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De, Médicis François. "La spécificité des structures thématiques à retour dans l'œuvre instrumental de Brahms /". Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34943.
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This dissertation develops an analytical model for studying the specific nature of "themes of return" in the instrumental music of Brahms. Such a formal type, whose most familiar examples are the period and the small ternary, is distinguished by the presence of a "return," that is, the restatement, after intervening material, of its initiating material, which performs the same function as it did in its first appearance.Brahms' return structures are analyzed according to four parameters: cadence, return, phraseology (which combines aspects of grouping, accentuation and rhythmic activity) and variation of tension (produced by the combined action of such factors as the curve of the melodic line, dynamics and surface and harmonic rhythms).
Brahms' use of cadence and return differs fundamentally from that of classical composers. His cadential gestures are subjected to a looser categorization and articulate broader tonal relations than those found in classical practice. With respect to his treatment of return, he differs from classical composers largely in the influence of underlying factors, such as greater continuity in texture or a tendency to avoid an over-predictibility in cadential organization. The study of cadences and returns thus leads to the identification of formal traits characteristic of Brahms, including the use of structures beginning off tonic harmony.
Both the phraseology and the variation of tension in Brahms' themes exhibit a striking diversity in organization. For example, the phraseology may feature a grouping hierarchy based on a binary division combined with an irregular pattern of accentuation, an additive structure associated with a regular accentuation, or asymmetrical groupings. Variations in tension are often organized around a climax; however, the size and range of the fluctuations in tension can vary considerably, the accumulation of intensity which prepares the climax may be accomplished by different combinations of parameters, and each climax may occupy a different position within a given segment.
Return structures, so abundant in the Brahms' instrumental music, feature a great variety in their organization. This abundance and diversity is due to the structural type's ready adaptability to the particular demands of Brahms' musical style.
16
Landis, Raymond E. "DEVELOPING VARIATION IN THE CHORALE PRELUDES FOR ORGAN, OPUS 122 BY JOHANNES BRAHMS". University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991752895.
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Vannatta, 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.
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LIN, YUEH-RENG. "THE IMPACT OF THE LIED ON SELECTED PIANO WORKS OF FRANZ SCHUBERT, ROBERT SHUMANN, AND JOHANNES BRAHMS". University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1101539626.
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Rubio, 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.
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In this thesis, I have studied the composer Johannes Brahms. I have talked about the background and history of his Quintet in B minor for clarinet and string quartet and I have then analyzed the piece. The purpose of this thesis is to find lesser known but significant information about Brahms to help other clarinetists when they have to perform this important piece of clarinet repertoire. Moreover, my artistic questions are if one piece can change your perception or your way to play it after doing a deep analysis and if the interpretation is in a way stronger than before. I decided to analyze this piece due to my interest in Brahms and to learn more about the expressive qualities in his music. I wanted to know more about the composer and so I chose this Quintet, because it is a challenging piece to play and is often performed. From the quintet, I concentrated specifically on the possibilities of performing it and I tried to search for a way to have a deeper understanding of Brahms to produce the most convincing artistic performance of the piece. After I learnt more about the background of this piece it resulted in a stronger interpretation of his quintet.
20
Mannis, Guilherme Daniel Breternitz 1980. "Abordagens de análise aplicadas à Sinfonia n. 2, op. 73, em ré maior, de Johannes Brahms /". São Paulo, 2019. http://hdl.handle.net/11449/181083.
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Orientador(a): Yara Borges CaznókBanca: Graziela Bortz
Banca: Maurício Funcia de Bonis
Banca: André Luiz de Campello Duarte Cardoso
Banca: Leonardo Martinelli
Resumo: Uma das maneiras de ampliar a compreensão sobre um texto musical é abrir o leque de perspectivas de abordagem analítica frente a uma mesma obra, para que maiores possibilidades interpretativas possam advir. Partindo-se desta premissa, esta tese tem como principal objetivo a aplicação de diferentes procedimentos analítico-musicais a uma mesma composição, e posterior inter-relação entre seus resultados, cotejando as diferentes visões e interpretações encontradas. Para tanto, selecionou-se uma obra tradicional do repertório sinfônico romântico: a Sinfonia nº 2, op. 73, em Ré maior, de Johannes Brahms. Foram realizados três estudos analíticos completos de seus 4 Movimentos: Análise Formal, de acordo com Arnold Schönberg (1996), William Caplin (1998), Charles Rosen (1988) e James Hepokoski e Warren Darcy (2006); Análise Motívica, segundo Rudolph Reti (1978); e, por fim, Análise Schenkeriana, conforme Heinrich Schenker (1935), Allen Forte e Steven Gilbert (1982), Felix Salzer (1982) e David Neumeyer e Susan Tepping (1992). Posteriormente, os dados encontrados foram comparados, procurando indicar algumas possibilidades de leitura da obra por meio da intersecção das visões específicas. Ao final, esses resultados analíticos foram confrontados com três gravações realizadas por diferentes orquestras, em épocas distintas, tendo à frente regentes reconhecidos como grandes intérpretes da obra de Brahms: Orquestra Sinfônica Columbia, Bruno Walter (1960), Orquestra Filarmônica de Berlim... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: A good way to expand the comprehension of a musical text is to open the range of analytical perspectives on approaching the same work, so that greater interpretative possibilities may arise. Starting from this premise, the main goal of this thesis consists in applying different analytic-musical procedures to the same composition, and later interrelationship between its results, comparing the different visions and interpretations founded. For this, a traditional work of the romantic symphonic repertoire was selected: Symphony No. 2, op. 73, in D major, by Johannes Brahms. Three complete analytical studies were built of its 4 Movements: Formal Analysis, according to Arnold Schönberg (1996), William Caplin (1998), Charles Rosen (1988) and James Hepokoski and Warren Darcy (2006); Motivic Analysis, according to Rudolph Reti (1978); and finally, Schenkerian Analysis, according to Heinrich Schenker (1935), Allen Forte and Steven Gilbert (1982), Felix Salzer (1982) and David Neumeyer and Susan Tepping (1992). After that, the data found were compared, trying to indicate some possibilities of reading the work through the intersection of those specific views. Finally, those analytical results were confronted with three recordings performed by different orchestras at different times, with conductors recognized as great performers of Brahms' work: Columbia Symphony Orchestra, Bruno Walter (1960), Berlin Philharmonic Orchestra, Claudio Abbado (1989) and Boston Symphony Orchestra, Andris... (Complete abstract click electronic access below)
Doutor
21
Yang, 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.
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Silva, Jéssica Evelyn Papi 1991. "Análise e interpretação do quarto movimento da Sinfonia nº 1 em dó menor, op. 68 de Johannes Brahms /". São Paulo, 2019. http://hdl.handle.net/11449/183265.
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Orientadora: Graziela BortzBanca: Lutero Rodrigues da Silva
Banca: Adriana Lopes da Cunha Moreira
Resumo: A presente dissertação consiste em aplicar a análise schenkeriana ao Quarto Movimento da Sinfonia n° 1 em Dó menor, op. 68 de Johannes Brahms. A análise é composta por gráficos elaborados a partir das técnicas criadas por Schenker. Por intemédio dos gráficos das camadas estruturais, são extraídas informações para a fundamentação de uma interpretação musical, apontando, por meio das técnicas e conceitos de Schenker desenvolvidos no campo da teoria e da análise musical, pistas para responder a questões sobre movimento e direção na prática do músico. Um levantamento bibliográfico foi realizado sobre o compositor Johannes Brahms, considerado por Schenker o último grande compositor alemão, sobre a obra e o contexto histórico em que se insere. Finalmente, um estudo da tradição interpretativa da Sinfonia nº 1 é apresentado, abarcando gravações dos maestros Furtwängler e Celibidache
Abstract: The present Master's Degree dissertation consists in the use of schenkerian analysis in the Fourth Movement of Symphony nº 1 in C minor, op. 68 by Johannes Brahms. The analysis was made by graphics elaborated from techniques created by Schenker. Through graphics of structural level, informations are extracted to build a musical performance, indicating, through Schenker's techniques developing in the musical theory and practice, clues to answer about movement and leading in the musician practice. A bibliographic research about Johannes Brahms had been done, regards by Schenker as the last great german composer, and about the work and the historical context is inserted. Finally, a study about the performance tradition of his Symphony nº 1, including Furtwängler and Celibidache's recordings, are introduced
Mestre
23
Farina, Andrew J. "Temporal Organization in the Masses of Johannes Ockeghem". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406027046.
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McConnell, Michael (Woodwind instrument player). "A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538725/.
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The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Réti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis. Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the Quintet as a cyclic Grundgestalt archetype.
25
Yun, Hee Sun. "An Orchestral Approach to Johannes Brahms' "Variationen und Fuge über ein Thema von Händel," Op. 24: Orchestral Transcription as an Interpretive Tool". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752377/.
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This dissertation provides an interpretive guide to Variationen und Fuge über ein Thema von Händel, Op. 24, written in 1861 by Johannes Brahms (1833–1897), in orchestral terms, using as basis the orchestral transcription by Edmund Rubbra (1901–1986), published as his Op. 47 in 1938. Not only does Brahms' Variationen present players with considerable pianistic difficulties, its intense harmonic and polyphonic structures make the music sound symphonic. The English composer Edmund Rubbra, a great Brahms enthusiast, transcribed the work for orchestra. The transcription in effect represents Rubbra's interpretation of the piano work as well as his respect for it. When both orchestra and piano versions of a composition exist, pianists may obtain essential musical ideas from studying the orchestral version, just as it is advisable for conductors to study the piano versions of symphonic works, not only those arranged by the composer. Brahms himself was not only a composer but also a pianist and conductor. It is possible that he imagined orchestral sound when composing large-scale piano works such as his Variationen. New experiments in interpretation can offer a refreshing perspective. This study focuses on elements from Rubbra's orchestral version of Variationen that can inform pianists' interpretation.
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PHELAN, VINCENT J. "AN ANALYSIS OF THE FIRST MOVEMENT OF THE CONCERTO FOR VIOLIN AND ORCHESTRA, OP.77 BY JOHANNES BRAHMS: APPLICATIONS IN PERFORMANCE". University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148174895.
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Hines, Jane. "Reinventing Tradition: Brahms, Progress, and Basso Ostinato". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1399942904.
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Marun, Filho Nahim. "A tecnica para piano de Johannes Brahms : origens, os 51 exercicios e as relações com a obra pianisitica do compositor". [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284203.
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Orientador: Mauricy Matos MartinTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-09T06:39:49Z (GMT). No. of bitstreams: 1 MarunFilho_Nahim_D.pdf: 13727351 bytes, checksum: 0bb7bec0d4eb4b37be7ec66b3e66f592 (MD5) Previous issue date: 2007
Resumo: Este trabalho demonstra as relações entre os 51 Exercícios de Johannes Brahms (1833-1897) e seu estilo pianístico. Estabelece uma ponte entre o repertório de concerto e a antiga aspiração dos intérpretes pela virtuosidade técnica, focando a obra de Johannes Brahms que, segundo muitos autores, sintetiza a história do piano. Para fundamentar a busca do depuramento técnico através de exercícios específicos, no primeiro capítulo traçamos um histórico da prática e composição deste gênero, desde os primórdios do teclado até a época de Brahms. Em seguida, mencionamos o envolvimento do compositor com o ensino e a técnica do piano, além de considerações sobre seu estilo ao escrever para este instrumento. Seguimos analisando algumas diferentes edições existentes no mercado editorial. Trabalhamos com as edições originais e também com as revisões de Ettore Pozzoli e Isidor Phillipp. Elaboramos alguns conselhos técnicos juntamente com um guia contendo as expressões mais comuns da fisiologia do movimento, com a finalidade de situar o leitor no desenvolvimento da última parte do trabalho. Finalmente, comentamos cada um dos 51 Exercícios de Brahms, apontando seu objetivo principal, orientando sua prática e sugerindo alguns exercícios adicionais. Nessa seção trazemos ainda vários excertos da literatura pianística desse compositor para se estabelecer a funcionalidade de cada um dos 51 Exercícios. Estes exemplos favorecem a aplicação dos movimentos estudados e aprofundam o leitor no estilo e na técnica pianística do compositor
Abstract: This Thesis explores the 51 Exercises of Johannes Brahms (1833-1897) relating to his unique compositional style for piano. His Exercises synthesize the whole history of piano technique. Thus, we intend to establish a connection between this work and his concert repertoire with the search for keyboard virtuosity of earlier interpreters. The initial chapters go through the history of piano technique, since early attempts of keyboard virtuosity till the publication of the 51 Exercises. We explore Brahms concerns with performance and teaching activities, as well as his craftsmanship involving compositions for piano. Following, we comment various editions of this work and the remarks of their editors, such as Ettore Pozzoli and Isidor Philipp. Photographs illustrate common movements which performers use during their activities and we provide practicing advices for this specific work. Finally, there are many remarks about each one of the 51 Exercises, such as their purpose, guidance for mastering their difficulties and additional exercises as well. The relationship with Brahms literature for piano is also pointed out in this section through excerpts from his solo piano music, chamber music with piano, and both concertos for piano and orchestra. And these could also work very well as further exercises. To understand the relationship between the piano language of Brahms and his technique is to comprehend a great deal of the Keyboard History
Doutorado
Doutor em Música
29
Jenkins, Kyle Joseph. "S-C Complications in Nineteenth-Century Sonata Movements". Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/333483.
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Many have noted nineteenth-century composers' tendency to undermine crucial formal boundaries normally found in eighteenth-century sonata forms. This dissertation examines phenomena that undermine the demarcation between the expositional secondary theme and closing section. In this document I refer to such events as "S-C Complications." In their Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (2006), James Hepokoski and Warren Darcy argued that this point of articulation plays a much more crucial role than that of merely forming a boundary between S- and C-space. Rather, it serves as the goal for the entire expositional trajectory, a goal whose presence is felt from the very outset of the movement. The authors refer to this moment as "essential expositional closure," or EEC. In this dissertation I attempt to show what role EEC in Hepokoski and Darcy's sense plays in nineteenth-century movements featuring S-C Complications. I conclude that nineteenth-century composers were very likely aware of the EEC's genre-defining status since they consistently and systematically undermined it. Further, whereas in the late-eighteenth-century repertoire S-C complications were rarely employed, in the nineteenth century they became more normative, and thus non-deformational. In addition to discussing the phenomena's dialogic relationship with eighteenth-century norms, I also address their effect on tonal structure and formal syntax, concluding that S-C Complications frequently have the effect of expanding closure beyond the scope of one cadence. For practical reasons I have limited the scope of this study to non-concerto movements written primarily by Schubert, Mendelssohn, and Brahms.
30
Atwell, Scott David. "Cadence, linear procedures and pitch structure in the works of Johannes Ockeghem". Full text available online (restricted access), 2001. http://images.lib.monash.edu.au/ts/theses/Atwell.pdf.
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Hawley, Aaron (Michael Aaron). "Johannes Brahms's Ein deutsches Requiem: A Comparison of the Reduced Orchestration Techniques in Joachim Linckelmann's Chamber Ensemble Version to Brahms's Four-Hand Piano Version". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955024/.
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Recognizing the challenges small groups have to program a major work, in 2010, Joachim Linckelmann created a chamber ensemble arrangement of Johannes Brahms's "Ein deutsches Requiem." In 1869, J.M. Reiter-Biedermann published Brahms's four-hand piano arrangement of "Ein deutsches Requiem." Brahms's arrangement serves as an excellent comparison to the chamber ensemble version by Linckelmann, since it can be assumed that Brahms chose to highlight and focus on the parts he deemed the most important. This study was a comparative analysis of the two arrangements and was completed in three stages. The first stage documented every significant change in Joachim Linckelmann's recent chamber arrangement. The second stage classified each change as either a reduction, reorganization, or elimination. The final stage of the analysis was to compare the choices made by Linckelmann to those made by Brahms. The results show that Linckelmann's choices for reduction, reorganization, and elimination closely align with those of Brahms. The only differences between the arrangements can be attributed to Linckelmann's focus on retaining the original orchestral timbre and Brahms's focus on providing the original vocal parts.
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Blachly, Alexander. "Mensuration and tempo in 15th-century music : cut signatures in theory and practice /". Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb400633697.
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Perttu, Daniel Erkki Hiram. "Through nature to eternity a work for wind ensemble, and A quantitative study of chromaticism : changes observed in historical eras and individual composers /". Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1177965963.
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Burts, Devon. "An Application of the Grundgestalt Concept to the First and Second Sonatas for Clarinet and Piano, Op. 120, No. 1 & No. 2, by Johannes Brahms". [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000456.
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Woodhouse, Edward Luke Anderton. "The music of Johannes Brahms in late nineteenth and early twentieth century England and an assessment of his reception and influence on the chamber and orchestral works of Charles Hubert Hastings Parry and Charles Villiers Stanford". Thesis, Durham University, 2013. http://etheses.dur.ac.uk/7336/.
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The music of Johannes Brahms currently enjoys popularity comparable with that of Bach, Handel, Haydn, Mozart and Beethoven throughout England. However, unlike composers such as Handel and Mendelssohn who preceded him, Brahms never actually set foot on English soil, thereby making the introduction and eventual acceptance of his music in England long and difficult. This process was eventually engineered principally through the determination and perseverance of several prominent performers, conductors and critics, such as Clara Schumann and August Manns, during the latter half of the nineteenth century. Aside from a small number of relatively short articles and unpublished lectures, the reception and subsequent influence of the music of Brahms in England, and in particular on the composers Charles Hubert Hastings Parry and Charles Villiers Stanford, has not been the subject of any major or substantial study, yet is still a popular notion in many texts on nineteenth century British music. This thesis attempts to assemble and evaluate all the available information on the subject, from the principal people responsible for introducing the music of Brahms to England, to an assessment of the appearance of his supposed reception and influence in England in historical and biographical texts. Finally, a much needed analytical evaluation of key chamber and orchestral compositions across Parry and Stanford’s relative outputs concludes the thesis, attempting to bring clarity to the vexed, outdated, but still commonly accepted notion that their works were merely an inferior assimilation of those of Brahms.
36
Llorens, Ana. "Creating musical structure through performance : a re-interpretation of Brahms's cello sonatas". Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278796.
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From the mid nineteenth century onwards, musical form has primarily been defined in terms of predetermined paradigms, which ostensibly provide a framework for hierarchically ordered materials. Despite its pervasive presence in theoretical literature, however, this Formenlehre tradition is not universal in musical thought. Since antiquity, theorists have resorted to images of dynamism, change, process, energy, intensity, and narration to denote a more elastic conception of (musical) form. However, most of them – such as, for instance, Kurth, Asaf’yev, or Maus – have not recognised that it is ultimately performers – not composers – who individually shape musical materials on the basis of the structural relations that they perceive within the music and then project in performance. This dissertation explores how such apparent incompatibility between theory and practice might be bridged. To that aim, the first part discusses how ‘dynamic’ notions of musical form might realise their full explanatory potential by accounting for the reality of performance. It also reviews previous investigations of performers’ strategies to project their structural understandings of musical works, with a special focus on their handling of timing, dynamics, articulation, intonation, and timbre. Using recorded interpretations of Brahms’s Cello Sonatas as sources for three case studies, the second part evaluates dynamic ideas of musical form from an analytical viewpoint. Through their personal approaches to these works, I show how select performers create a wide range of structural connections, which are never alike across their different recordings. Likewise, these performers neither resort to the same parameters nor ‘shape’ the select movements in the same manner or with the same intensity. I ultimately posit that musical structure is inferred, created, and experienced in a unique way on every occasion a given piece is performed – and also whenever it is composed, analysed, or listened to. This research does not dismiss music theory as having no explanatory potential in the investigation of abstract notions such as musical structure as we sense them in performance. Rather, it aims to contribute to the dialogue between theory and practice by showing how, and why, music theory should reconceptualise musical form as a set of possibilities affording multiple choices and interpretations, that is to say, as a ‘multiverse’ that emerges across time and in sound.
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"Rhythmic, phrase-structural and formal ambiguities in Brahms's violin sonata no. 3, 1st movement: a case study in analysis and performance". 2013. http://library.cuhk.edu.hk/record=b5884322.
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Long, I Ian.Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts also in Chinese.
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Lee, Wei-Hann y 李韋翰. "Semantic Study of Johannes Brahms'' Music". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/23561215711787129848.
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博士國立臺北藝術大學
音樂學系博士班
99
The works of nineteenth century composer Johannes Brahms (1833-1897), including his small pieces for piano and symphonies, reflect well how he felt for life. The loneliness and sorrow in his music, however, didn’t mean hopeless. Despite the grief of the deaths of his friends in his later life, Brahms, through his religion, believed the power of love is greater than death, and thus kept himself rational instead of depressed. In 1983, which was Brahms’ 150th birthday, the Brahms Music Association was established in the United States. Countless music critics and performers have kept seeking new meaning from his creation, and after the complete collection of Brahms came out, the semantic issues of his creation have become the new research objectives. One of the reasons that Brahms’ music is still much interested is that he created a new form of music language and reinterpreted the contents of spirits and minds, and so the richness in the expression is well accepted and popular among people. Nevertheless, it needs a long period of listening and analyses to discover the inner expression of Brahms’ music. Brahms himself didn’t like to discuss his own work, so the understanding of the meaning behind them would alter as the environment or other elements change. This thesis mainly discusses the semantic researches in Brahms’ music through not only the original structure of his work, but also his personal experiences, re-examining the hidden semantic interpretation by observing the historical proof and with the references of the social level and the world view of the composer’s time.
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"Serenade in D Major by Johannes Brahms: Aranged for Solo Guitar". Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.21035.
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abstract: The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms.Dissertation/Thesis
D.M.A. Music 2013
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"Capturing the instability of genre: Brahms's serenades and the "generic web"". 2009. http://library.cuhk.edu.hk/record=b5896890.
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Pang, Pui Ling.Thesis submitted in: October 2008.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2009.
Includes bibliographical references (leaves 154-169).
Abstracts in English and Chinese.
Chapter Chapter 1 --- Grasping Genre --- p.1
Purpose and Outline of Study --- p.1
The Concept of Genre --- p.3
Classic View --- p.5
Recent Views --- p.12
Contemporary Study of Genre in Music --- p.15
Historical Study of Genre --- p.16
Hermeneutic Study of Genre --- p.18
Study of the Serenade as a Musical Genre --- p.19
Chapter Chapter 2 --- The History of Serenade to the End of the Eighteenth Century --- p.21
The Origin of Serenade --- p.21
Early Serenades and the Vocal Tradition --- p.26
Emergence of Instrumental Serenades --- p.30
Serenades and Related Genres in the Eighteenth Century --- p.34
Mozart 's Serenades --- p.41
Chapter Chapter 3 --- "Intellectual, Social, and Stylistic Backgrounds" --- p.48
Contextual Changes at the Turn of the Nineteenth Century --- p.48
Serenades in the Early Nineteenth Century --- p.55
Chamber Serenades --- p.55
Serenades by Leading Composers of the Period --- p.57
Serenades in the Operas --- p.65
Chapter Chapter 4 --- Brahms's Serenades --- p.69
Compositional Background --- p.69
Music Analysis --- p.82
"Serenade in D Major, op. II" --- p.83
"Serenade in A Major, op. 16" --- p.92
Brahms's Borrowings --- p.98
Instrumentation and Tonal Plan --- p.100
Early Reception --- p.103
Chapter Chapter 5 --- Serenades in the Late Nineteenth Century --- p.109
Serenades for Orchestra --- p.110
Volkmann and His String Serenades --- p.113
"String Serenades of Dvorak, Tchaikovsky, Suk，and Elgar" --- p.118
"Dvorak's Wind Serenade in D Minor, op. 44" --- p.123
Serenade as a “Miniaturéح Symphony --- p.125
Other Serenades --- p.130
Single-movement Serenades for Orchestra --- p.131
Serenades for Chamber Ensemble --- p.133
Serenades for Solo Piano --- p.135
Chapter Chapter 6 --- Grasping the Elusive Serenade --- p.139
The History of the Serenade Revisited --- p.139
Brahmśةs Role in Shaping the Serenade --- p.141
Brahms's Invitation to Form --- p.143
The Generic Web --- p.144
Appendix Serenades in the Late Nineteenth Century --- p.147
Bibliography --- p.154
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Gray, Kristine. "Johannes Brahms, cello Sonata No. 2, Op. 99: a transcription and technical guide for alto saxophone and piano". Thesis, 2016. https://hdl.handle.net/2144/14573.
Texto completoResumen
Johannes Brahms’s Sonata No. 2, Opus 99 is considered an important work of the cello repertoire. With the lack of Romantic-era transcriptions, specifically Brahms, the purpose of this project was to create a new transcription to add to the alto saxophone repertoire. The paper examines Brahms’s own transcription of Sonata Nos. 1 and 2, Opus 120 as an example of a clarinet to viola transcription. Additionally, the paper discusses in detail the necessary changes to the music, as well as offering technical suggestions for the issues encountered when transcribing from a stringed to a wind instrument. The paper concludes with a complete transcription of Brahms’s Sonata No. 2, Opus 99 for alto saxophone and piano.
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"Piano Variations by Liszt, Lutoslawski, Brahms, and Rachmaninoff on a Theme by Paganini". Thesis, 2012. http://hdl.handle.net/1911/70520.
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Theme and Variations is arguably one of the oldest musical forms in music history. Composers have used certain themes repeatedly as thematic sources for variations. Among them, Paganini's Caprice No. 24 in A minor is certainly the best known, since the theme has inspired many composers for variations of their own. The purpose of this study is to analyze different sets of Variations on Paganini's theme by Franz Liszt, Witold Lutoslawbski, Johannes Brahms, and Sergei Rachmaninoff, in order to examine, identify, and trace how far an original idea can be stretched by using different variations techniques and their applications. Liszt transcribed Paganini's 24th Caprice for the piano, adding a multi-layered sound to the original Caprice. His treatment of the Paganini theme is the most literal. Lutoslawski's Paganini Variations is written for duo piano. This piece builds on Liszt's transcription technique: it stays close to the original Paganini Caprice, but at the same time overlays many 20 th century compositional devices such as atonality and complex rhythmic devices. Lutoslawski carries Liszt one step further away from Paganini's original theme. In his Variations on a Theme of Paganini, op. 35, Brahms keeps the clear structure and strong harmonic progression of the original theme, but carries his invention further away from the source than Liszt and Lutoslawski. His compositional technique includes adding new harmonies within the harmonic structure, marking different tempo indications and meter changes, playing with a variety of rhythm and motives, as well as accentuating the harmonic progression and the bass progression. Rachmaninoff's Rhapsody on a Theme of Paganini, Op. 43 is the most personal. He places greater emphasis on the melodic and motivic elements of the theme, and nearly exhausts every option of transformation. Rachmaninoff's extensive development represents the furthest point away from Paganini's source.
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McCallum, Rebekah Sheppard. "Unendlicher Bruch: the struggle toward music in Johannes Brahms's and Ludwig Tieck's Magelone". Thesis, 2006. http://hdl.handle.net/1828/1950.
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Johannes Brahms's Magelone Romanzen, op. 33. have sparked decades of scholarly debate over their potentially cyclic construction and the degree of their connection to the source of their poetic texts. Ludwig Tieck's Wundersame Liebesgeschichte der schönen Magelone und des Grafen Peter von Provence. Following recent scholarship, this thesis regards the mixed-genre (Mischgedicht) construction of Tieck's literary work as the model for Brahms's Romanzen. Moving beyond genre analysis, however. l argue that both Tieck's and Brahms's choices of mixed genre are based ultimately in musical aesthetics - aesthetics principally expounded in three essays from Tieck's Phantasien über die Kunst. für Freunde der Kunst. Through close reading of Tieck's philosophy. literary analysis of the Wundersame Liebesgeschichte. and musical analysis of Brahms's Romanzen, my work explores the intricate connections between conception and creation in these works, proposing Tieck's concept of musical fantasy as a philosophical solution to the musical ambiguities of op. 33.
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Watkins, Marlene Jeanette. "The pianist and the Brahms sonata for piano and violin, opus 108 in D minor". Thesis, 1989. http://hdl.handle.net/10413/8934.
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This thesis deals in particular with the pianist's
approach to the Brahms Sonata for Piano and Violin in D
Minor, Opus 108. There are two chapters, the first of
which takes the form of a bibliography in which
different theoretical aspects for consideration in the
learning of the work are presented.
One of the sections in the first chapter which is
entitled The Pianist, should prove helpful to a
prospective piano teacher, as well as a student of the
Brahms Sonata in D Minor, Opus 10 8. In this section
sources presenting different solutions to technical
problems which the pianist is likely to encounter both
generally, and specifically with regard to this Sonata,
are listed.
The other sections in this chapter include a discography
and comments concerning recordings of the Sonata in D
Minor, Opus 108, which a student of this work and its
composer may consult.
The second chapter of the thesis deals with specific
issues involved in the interpretation based on my
performance of the Sonata in D Minor, Opus 108, for the
practical examination. Three other possible
interpretations by well-known pianists are briefly
evaluated. Attached to the thesis is a cassette tape on
which recommendations for the practising of certain
passages may be heard.Thesis (M.Mus)-University of Natal, Durban, 1989.
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Godin, Jon-Tomas. "Enjeux esthétiques et musicaux de la sonate pour piano à l’époque romantique : les premières expériences en structure à grande échelle de Mendelssohn, Schumann et Brahms". Thèse, 2017. http://hdl.handle.net/1866/19023.
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Les sonates pour piano de la « génération romantique » (Rosen) et des compositeurs qui l’ont suivie s’éloignent des conventions qui régissent la forme classique, et ce à plusieurs égards : schéma tonal, découpage, fonctions formelles, voire même l’affect ou l’esthétique générale du mouvement. Lorsqu’il s’agit de sonates de jeunesse, ces écarts ont généralement été interprétés comme des maladresses ou comme un manque de métier. Cette thèse remet en question cette perspective
et propose une démarche analytique permettant de rétablir ce répertoire dans sa spécificité en définissant une nouvelle conception esthétique de la sonate romantique. L’approche développée ici n’est pas fondée sur une construction musicale purement théorique : elle repose plutôt sur une conciliation entre, d’une part, les valeurs esthétiques caractéristiques de cette époque, et, d’autre part, l’analyse structurelle et formelle. Cette approche est exposée en deux grandes étapes. Les chapitres 1 et 2 parcourent les écrits philosophiques, littéraires, théoriques et critiques des années 1790-1860 pour y découvrir six valeurs esthétiques qui définissent la sonate au XIXe siècle : la forme abstraite, la cohérence à grande échelle, l’organicisme, la tension entre tradition et innovation, l’expression du sublime et celle de la noblesse. Les chapitres 3 à 5 emploient différentes techniques d’analyse (la Formenlehre de William Caplin, l’analyse réductionnelle de Heinrich Schenker et l’étude de l’organisation rythmique et métrique d’après Lester, Krebs et de Médicis) pour montrer comment ces six valeurs esthétiques permettent de rendre compte de la structure spécifique des oeuvres sélectionnées : la Sonate pour piano en mi majeur, op. 6 (1826), de Mendelssohn ; la Grande Sonate pour piano en fa dièse mineur, op. 11 (1832-1835), de Schumann ; la Grande Sonate pour piano en fa mineur, « Concert sans orchestre », op. 14 (1835-1836, rév. 1853), de Schumann ; et la Sonate pour piano en fa dièse mineur, op. 2, de Brahms (1852). Cette approche, qui permet d’appliquer la théorie de la forme à un répertoire pour lequel elle n’a pas a priori été conçue, met l’accent sur la souplesse du rapport entre le discours esthétique et la pratique compositionnelle. Chaque compositeur, sinon chaque oeuvre, répond aux valeurs esthétiques à divers degrés et selon différentes combinaisons. Au final, cette démarche permet de montrer à quel point les considérations esthétiques jouent un rôle primordial dans la conception même de la forme sonate au XIXe siècle. Elle ouvre de nouvelles perspectives en permettant de mieux cerner les points de contact et les divergences entre la sonate classique et la sonate romantique, et fournit des éléments qui permettront une comparaison plus légitime entre ces deux répertoires.Piano sonatas written by composers from the ‘Romantic Generation’ (Rosen), as well as those from the following generation, tend to move away from the conventions of classical form in many ways: tonal plan, form, formal functions, and even the general affect or aesthetic of the movement. When the sonatas in question are early works, unconventional details are frequently interpreted as mistakes or the result of a lack of training. This dissertation challenges that perspective and develops an analytical approach that establishes the unique elements of this repertoire by defining a new aesthetic understanding of romantic sonata form. This approach is not based on a purely musical construct. Rather, it combines characteristic aesthetic values of the period with formal and structural analysis. The approach is presented in two stages. The first two chapters of the dissertation survey philosophical, literary, theoretical and critical texts from 1790 to 1860, uncovering six aesthetic values that define the sonata in the 19th century: abstract form, large-scale coherence, organicism, the opposition of tradition and innovation, an expression of the sublime and of nobility. Chapters 3 to 5 use different analytical methods (Caplin’s Formenlehre, Schenkerian linear analysis, and rhythmic analysis based on Lester, Krebs, and de Médicis) to illustrate how these six core aesthetic values illuminate the specific structures of four sonata-form movements: Mendelssohn’s Piano Sonata in E Major, op. 6 (1826), Schumann’s Piano Sonata in F-sharp Minor, op. 11 (1832-1835) and Piano Sonata in F Minor, “Concert sans orchestre”, op. 14 (1835-1836, rev. 1853), and Brahms’ Piano Sonata in F-sharp Minor, op. 2 (1852). This approach, which applies Caplin’s theory of form to a repertoire for which it was not originally developed, underscores the fluidity of the relationship between aesthetic discourse and compositional practice. Each composer, perhaps each individual work, responds to the aesthetic values in different ways and to varying degrees. In the end, this type of analysis shows how significant aesthetic considerations are in conceptualising sonata form in the 19th century. It broadens our perspective on form by better identifying the commonalities and divergences between classical and romantic sonata form, and provides elements that will allow a more accurate comparison of these two repertoires.
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Liao, Willis Weishan y 廖唯善. "“Developing Variation” in Musical Context: Evidence from The First Movement of Piano Quartet No.3, Op. 60 by Johannes Brahms and The First Piece of Five Pieces for Orchestra, Op. 16 by Arnold Schoenberg / Music Compositions by Willis Weishan Liao". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/42500660833886612472.
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碩士東吳大學
音樂學系
99
“Developing variation” is a concept coined by Austrian composer Arnold Schoenberg (1874-1951), in which the needed materials throughout a musical composition are provided by constantly varying the initial intervallic motive. However, Schoenberg not only provided some scattered discourses on developing variation, but also did not clarify his definitions of several related terms, such as gestalt, grundgestalt and motive. This thesis intends to concretize the meaning of developing variation by citing Schoenberg’s own writings and paraphrasing other theorists’ ideas. By analyzing the first movement of Brahms’ C minor Piano Quartet (op. 60) and the opening piece of Schoenberg’s Five Pieces for Orchestra (op. 16), this thesis not only verifies the feasibility of developing variation as a analytical method for larger musical forms, but also compares two mentioned composers’ unique characterizations, under the category of developing variation. Program of Willis Weishan's Composition Concert: String Quartet Piano Trio Concertino for Solo Double Bass and Chamber Group Concerto for Solo Piano and Chamber Group