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Paths not taken : = Structural-harmonic ambiguities in selected Brahms intermezzi.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Paths not taken :/
其他題名:	Structural-harmonic ambiguities in selected Brahms intermezzi.
作者:	Maluf, Shireen.
面頁冊數:	1 online resource (93 pages)
附註:	Source: Masters Abstracts International, Volume: 76-02.
Contained By:	Masters Abstracts International76-02.
標題:	Music. -
電子資源:	click for full text (PQDT)
ISBN:	9780612120532

Paths not taken : = Structural-harmonic ambiguities in selected Brahms intermezzi.
Maluf, Shireen.

Paths not taken :Structural-harmonic ambiguities in selected Brahms intermezzi. - 1 online resource (93 pages)

Source: Masters Abstracts International, Volume: 76-02.

Thesis (M.A.)--McGill University (Canada), 1995.

Includes bibliographical references

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.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9780612120532Subjects--Topical Terms:

649088
Music.
Subjects--Index Terms:

GermanyIndex Terms--Genre/Form:

554714
Electronic books.

Paths not taken : = Structural-harmonic ambiguities in selected Brahms intermezzi.
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504 $a Includes bibliographical references
520 $a 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.
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