Brahms and the Scherzo: Studies in Musical Narrative by Ryan McClelland, Daniel Dorff

By Ryan McClelland, Daniel Dorff

Regardless of the magnificent variety in Brahms' scherzo-type activities, there was no finished attention of this element of his oeuvre. Professor Ryan McClelland offers an in-depth learn of those hobbies that still contributes considerably to an figuring out of Brahms' compositional language and his artistic discussion with musical traditions. McClelland in particular highlights the function of rhythmic-metric layout in Brahms' song and its courting to expressive which means. In Brahms' scherzo-type events, McClelland lines ameliorations of fundamental thematic fabric, demonstrating how the connection of the preliminary track to its next types creates a musical narrative that gives structural coherence and generates expressive which means. McClelland's interpretations of the expressive implications of Brahms' fascinatingly elaborate musical constructions usually have interaction matters without delay proper to functionality. This illuminating publication will entice tune theorists, musicologists engaged on nineteenth-century instrumental track and performers.

Show description

Read or Download Brahms and the Scherzo: Studies in Musical Narrative PDF

Similar sheet music & scores books

Debussy and the Fragment (Chiasma 18)

Instead of reliable frames, a few under excellent aesthetic gadgets have permeable membranes which enable them to diffuse without problems into the standard global. within the parallel universes of song and literature, Linda Cummins extols the poetry of such imperfection. She locations Debussy's paintings inside of a practice thriving on anti-Aristotelian rules: motley collections, crumbling ruins genuine or pretend, sizeable hybrids, patchwork and palimpsest, hasty sketches, ellipses, truncated beginnings and endings, meandering arabesques, inappropriate digressions, auto-quotations.

Two-Dimensional Sonata Form: Form and Cycle in Single-Movement Instrumental Works by Liszt, Strauss, Schoenberg, and Zemlinsky

Two-Dimensional Sonata shape is the 1st publication devoted to the combo of the events of a multimovement sonata cycle with an overarching single-movement shape that's itself equipped as a sonata shape. Drawing on numerous historic and up to date techniques to musical shape (e. g. , Marxian and Schoenbergian Formenlehre, Caplin's thought of formal services, and Hepokoski and Darcy's Sonata Theory), it starts through constructing an unique theoretical framework for the research of this sort of shape that's so attribute of the later 19th and early 20th century.

The Cambridge Mozart Encyclopedia

Offers details on particular works, humans, locations and ideas in addition to a summation of present considering Mozart. Articles on genres mirror the newest in scholarship whereas the articles on humans and locations give you the important historic framework, in addition to interpretation. features a sequence of thematic articles that disguise the eighteenth century and Mozart's dating to it.

Logier’s comprehensive course in music, harmony, and practical composition

It is a replica of a publication released sooner than 1923. This publication could have occasional imperfections similar to lacking or blurred pages, bad photos, errant marks, and so on. that have been both a part of the unique artifact, or have been brought by means of the scanning strategy.

Extra resources for Brahms and the Scherzo: Studies in Musical Narrative

Sample text

31 is repeated in m. 32, and then agitatedly repeated in m. 33; mm. 31–3 form a cohesive unit (much like our tendency in spoken language to repeat a word or phrase once slightly louder, and then to repeat it much louder and with variation if still not understood).  Hypermetric reinterpretation refers to a beat in the hypermeter that functions simultaneously in two ways; the most common hypermetric reinterpretation is a fourth beat in a hypermeasure that also functions as a downbeat for the next hypermeasure (due to a phrase ending that is also a phrase beginning—an elision).

Since many of Brahms’s scherzo-type movements begin away from the tonic harmony—the most common alternative is a prolongation of the dominant—this same harmony delays the reassertion of tonic harmony until after the thematic return has begun. In several of Brahms’s rounded binaries that start directly with tonic harmony, though, the thematic rounding is recomposed to avoid this harmony. In a couple of trios, the thematic rounding actually begins in the key of the subdominant (Opp. 18 and 25), but most often the tonic key is reasserted and the original melody is simply reharmonized.

Now Brahms expands the phrase not through deceptive progressions but through a stasis on the cadential dominant. The right-hand tremolo evolves into an unaccompanied trill, which prepares a memory of the trio in B major. After three measures, the recollection shifts to B minor and a swift fourmeasure return of scherzo material brings the movement to a close. , Beethoven in his Seventh and Ninth Symphonies). The scherzo from Op. 2 is not ineffective; in fact, its dramatic, well-defined contrasts and exciting pianistic feats have a direct, though not profound, impact.

Download PDF sample

Rated 4.20 of 5 – based on 16 votes