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Th 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
Organism in the Original Revised Versions Brahms Piano Trio B Major, Op. 8, Mvt. I Means of Grundgestalt Analysis
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2014/10/20
Johannes Brahms’s revision of the B Major Piano Trio, Op. 8, hereafter referred to as the Piano Trio, presents a unique analytical opportunity. By allowing two versions to coexist, Brahms not only gav...
Review of Peter H. Smith, Expressive Forms in Brahms’s Instrumental Music: Structure and Meaning in His Werther Quartet
Brahms expression meaning musical structure
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2010/3/24
[1] Despite its being published as part of a series devoted to musical meaning and interpretation, Peter Smith’s Expressive Forms in Brahms’s Instrumental Music: Structure and Meaning in His Werther Q...
The Progress of a Motive in Brahms’s Intermezzo op. 119, no. 3
motive Grundgestalt Brahms double-tonic complex Intermezzo
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2010/3/25
Brahms’s Intermezzo op. 119, no. 3 is structured around a motive with two components—one melodic, one harmonic—that operate sometimes separately and sometimes together. The global harmonic trajectory ...
What is a Musical Feature? Forte's Analysis of Brahms's Opus 51, No. 1, Revisited
analysis feature motive Brahms Forte
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2010/3/29
A theory of musical features is presented. The theory emphasizes how a given work is distinguished from other works in some musical corpus. A number of general concepts are defined including presence,...