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The analytical Grundgestalt : = A new model and methodology based on the music of Johannes Brahms.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	The analytical Grundgestalt :/
Reminder of title:	A new model and methodology based on the music of Johannes Brahms.
Author:	Auerbach, Brent Lawrence.
Description:	1 online resource (441 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 67-03, Section: A.
Contained By:	Dissertations Abstracts International67-03A.
Subject:	Music. -
Online resource:	click for full text (PQDT)
ISBN:	9780542054099

The analytical Grundgestalt : = A new model and methodology based on the music of Johannes Brahms.
Auerbach, Brent Lawrence.

The analytical Grundgestalt :A new model and methodology based on the music of Johannes Brahms. - 1 online resource (441 pages)

Source: Dissertations Abstracts International, Volume: 67-03, Section: A.

Thesis (Ph.D.)--University of Rochester, Eastman School of Music, 2005.

Includes bibliographical references

According to Arnold Schoenberg's teachings, all musical events in a piece are connected to and dependent upon the Grundgestalt , a multivalent structure encoding motivic, thematic, harmonic, rhythmic, and textural information. Following this definition, many analysts such as Josef Rufer, Rudolf Reti, David Epstein, and Patricia Carpenter have attempted to illustrate the organicism and teleology of works by means of the Grundgestalt. Despite their individual findings, the field of Grundgestalt analysis has continued to provoke skepticism from theorists troubled by its lack of clear terminology and methodology. Part I of this dissertation advances a new model of the Grundgestalt as well as a new methodology for analysis, one wherein rules are fashioned in response to previous analytical conventions and are based exclusively on the music of Johannes Brahms. The main advances over earlier views of the Grundgestalt include requiring the structure to occur as a polyphonic complex and allowing it to occur at any point within a piece (instead of only at the beginning). The first of these new conventions enhances the Grundgestalt's ability to reveal a work's organicism. The second, entailing a reconception of the Grundgestalt as the head of a hierarchy radiating down to local Gestalten and smaller musical segments, allows for multiple narrative analyses of a single work. Part II of the dissertation provides sample analyses of a number of Brahms's works: the Capriccio in c# minor and Intermezzo in A major (op. 76, nos. 5-6), the song "Madchenlied" (op. 107, no. 5), and the Adagio movement of the Second Symphony. The purpose of the analyses is both to demonstrate the method of Part I and to investigate a possible correlation between genre and narrative archetypes in Brahms's music. Based on the variable location of the core material, the solo piano works are correlated with an "onset Grundgestalt" narrative profile, while the song and symphony are seen to exhibit "cyclic" and "emergent Grundgestalt" profiles, respectively.

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

Mode of access: World Wide Web

ISBN: 9780542054099Subjects--Topical Terms:

649088
Music.
Subjects--Index Terms:

Brahms, JohannesIndex Terms--Genre/Form:

554714
Electronic books.

The analytical Grundgestalt : = A new model and methodology based on the music of Johannes Brahms.
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520 $a According to Arnold Schoenberg's teachings, all musical events in a piece are connected to and dependent upon the Grundgestalt , a multivalent structure encoding motivic, thematic, harmonic, rhythmic, and textural information. Following this definition, many analysts such as Josef Rufer, Rudolf Reti, David Epstein, and Patricia Carpenter have attempted to illustrate the organicism and teleology of works by means of the Grundgestalt. Despite their individual findings, the field of Grundgestalt analysis has continued to provoke skepticism from theorists troubled by its lack of clear terminology and methodology. Part I of this dissertation advances a new model of the Grundgestalt as well as a new methodology for analysis, one wherein rules are fashioned in response to previous analytical conventions and are based exclusively on the music of Johannes Brahms. The main advances over earlier views of the Grundgestalt include requiring the structure to occur as a polyphonic complex and allowing it to occur at any point within a piece (instead of only at the beginning). The first of these new conventions enhances the Grundgestalt's ability to reveal a work's organicism. The second, entailing a reconception of the Grundgestalt as the head of a hierarchy radiating down to local Gestalten and smaller musical segments, allows for multiple narrative analyses of a single work. Part II of the dissertation provides sample analyses of a number of Brahms's works: the Capriccio in c# minor and Intermezzo in A major (op. 76, nos. 5-6), the song "Madchenlied" (op. 107, no. 5), and the Adagio movement of the Second Symphony. The purpose of the analyses is both to demonstrate the method of Part I and to investigate a possible correlation between genre and narrative archetypes in Brahms's music. Based on the variable location of the core material, the solo piano works are correlated with an "onset Grundgestalt" narrative profile, while the song and symphony are seen to exhibit "cyclic" and "emergent Grundgestalt" profiles, respectively.
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