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Tonal structure, rhythm, meter, and ...

McClelland, Ryan C.

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Tonal structure, rhythm, meter, and motive in the scherzo-type movements of Brahms's chamber music with piano (Johannes Brahms, Germany).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Tonal structure, rhythm, meter, and motive in the scherzo-type movements of Brahms's chamber music with piano (Johannes Brahms, Germany)./
作者:	McClelland, Ryan C.
面頁冊數:	320 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-05, Section: A, page: 1588.
Contained By:	Dissertation Abstracts International65-05A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3134031
ISBN:	049681267X

Tonal structure, rhythm, meter, and motive in the scherzo-type movements of Brahms's chamber music with piano (Johannes Brahms, Germany).
McClelland, Ryan C.

Tonal structure, rhythm, meter, and motive in the scherzo-type movements of Brahms's chamber music with piano (Johannes Brahms, Germany). - 320 p.

Source: Dissertation Abstracts International, Volume: 65-05, Section: A, page: 1588.

Thesis (Ph.D.)--Indiana University, 2004.

Brahms's scherzo-type movements are famously diverse. Their varied expressive trajectories arise substantially from differences in the interaction of three related domains: tonal structure, rhythmic-metric structure, and motivic design. This dissertation examines tonal, rhythmic-metric, and motivic structures in the scherzo-type movements from Brahms's chamber music with piano (duos, trios, quartets, and quintet). Drawing principally on Schenkerian approaches, the analyses emphasize phenomena such as phrase rhythm, hypermeter, metric placement of tonal arrivals, relative durations of stable and unstable tonal events, and shifts in the metric placement of recurrent rhythmic motives. The dissertation suggests that change in tonal and rhythmic-metric configurations within a movement creates a musical narrative. Thematic transformations usually highlight these large-scale tonal and rhythmic-metric progressions, but the dissertation asserts the importance of tonal and rhythmic-metric reconfigurations even in the absence of thematic recall.

ISBN: 049681267XSubjects--Topical Terms:

516178
Music.

Tonal structure, rhythm, meter, and motive in the scherzo-type movements of Brahms's chamber music with piano (Johannes Brahms, Germany).
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245 1 0 $a Tonal structure, rhythm, meter, and motive in the scherzo-type movements of Brahms's chamber music with piano (Johannes Brahms, Germany).
300 $a 320 p.
500 $a Source: Dissertation Abstracts International, Volume: 65-05, Section: A, page: 1588.
500 $a Adviser: Frank Samarotto.
502 $a Thesis (Ph.D.)--Indiana University, 2004.
520 $a Brahms's scherzo-type movements are famously diverse. Their varied expressive trajectories arise substantially from differences in the interaction of three related domains: tonal structure, rhythmic-metric structure, and motivic design. This dissertation examines tonal, rhythmic-metric, and motivic structures in the scherzo-type movements from Brahms's chamber music with piano (duos, trios, quartets, and quintet). Drawing principally on Schenkerian approaches, the analyses emphasize phenomena such as phrase rhythm, hypermeter, metric placement of tonal arrivals, relative durations of stable and unstable tonal events, and shifts in the metric placement of recurrent rhythmic motives. The dissertation suggests that change in tonal and rhythmic-metric configurations within a movement creates a musical narrative. Thematic transformations usually highlight these large-scale tonal and rhythmic-metric progressions, but the dissertation asserts the importance of tonal and rhythmic-metric reconfigurations even in the absence of thematic recall.
520 $a The dissertation classifies the fifteen movements based on broad structural and expressive similarities. The scherzos from Opp. 8, 26, and 40 exhibit stable and coordinated tonal and rhythmic-metric structures, and these movements invoke aspects of the pastoral mode (chapter 2). The scherzo from the posthumously published F-A-E sonata and the corresponding movements from Opp. 25, 34, and 60 open with acute rhythmic-metric and tonal dissonances that subsequently resolve, a resolution that is dramatized except in the case of Op. 25 (chapter 3). The scherzos from the piano trios Opp. 87 and 101 also present conflicts, but their rhythmic-metric ones never fully resolve (chapter 4). In many of Brahms's later movements, the minuet and the character piece blend with the scherzo tradition. The third movements of Opp. 114 and 120, no. 1 incorporate aspects of the minuet, a genre explicitly invoked by Brahms in Op. 38 (chapter 5). The third movement of Op. 99 is a powerful scherzo, but the third movements of Opp. 108 and 120, no. 2 have elements that suggest the freedom of the character piece (chapter 6). The dissertation's final chapter considers the implications of the analyses for performance choices and speculates on relating the tonal and rhythmic-metric processes observed in the scherzo-type movements to those in Brahms's other movement types.
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