國立虎尾科技大學 |

Cyclic form in the music of Brahms.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Cyclic form in the music of Brahms./
Author:	Montgomery, Kip James.
Description:	1 online resource (316 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 63-10, Section: A, page: 3416.
Subject:	Music. -
Online resource:	click for full text (PQDT)
ISBN:	9780493869728

Cyclic form in the music of Brahms.
Montgomery, Kip James.

Cyclic form in the music of Brahms. - 1 online resource (316 pages)

Source: Dissertation Abstracts International, Volume: 63-10, Section: A, page: 3416.

Thesis (Ph.D.)--State University of New York at Stony Brook, 2002.

Includes bibliographical references

This dissertation explores cyclic form and structure in the music of Johannes Brahms. Cyclic form occurs in works when structurally important musical themes or motives heard at the beginning return at the work's end. In works which utilize cyclic form, these musical ideas in their returns cross the normal boundaries that mark and define discrete movements, thereby unifying whole works and suggesting the operation of various formal processes across their entire span. The dissertation explores the means of defining cyclic form and shows that its examination in the music of Brahms---who composed many works which feature cyclic returns---has been much neglected in the scholarly literature.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780493869728Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Cyclic form in the music of Brahms.
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100 1 $a Montgomery, Kip James. $3 1185239
245 1 0 $a Cyclic form in the music of Brahms.
264 0 $c 2002
300 $a 1 online resource (316 pages)
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500 $a Source: Dissertation Abstracts International, Volume: 63-10, Section: A, page: 3416.
500 $a Adviser: Joseph Auner.
502 $a Thesis (Ph.D.)--State University of New York at Stony Brook, 2002.
504 $a Includes bibliographical references
520 $a This dissertation explores cyclic form and structure in the music of Johannes Brahms. Cyclic form occurs in works when structurally important musical themes or motives heard at the beginning return at the work's end. In works which utilize cyclic form, these musical ideas in their returns cross the normal boundaries that mark and define discrete movements, thereby unifying whole works and suggesting the operation of various formal processes across their entire span. The dissertation explores the means of defining cyclic form and shows that its examination in the music of Brahms---who composed many works which feature cyclic returns---has been much neglected in the scholarly literature.
520 $a The dissertation discusses Brahms's inheritance of cyclic form through a study of its manifestation in selected works of his predecessors. The structure of these works and their possible influence on Brahms is explored. Next, two approaches to cyclic style are suggested by some early works of Brahms, the three piano sonatas (op. 1, op. 2, and op. 5) and a collection of six songs (op. 6). In these works, Brahms appears to be exploring two different paths of cyclic composition. The piano sonatas demonstrate procedures of thematic transformation, which create the effect of cyclic structure. The songs, on the other hand, exhibit more subtle means of unification. These works demonstrate the origins of Brahms's interest in cyclic form.
520 $a Chapters 3 and 4 of the dissertation examine cyclic form in Ein deutsches Requiem and the Third Symphony. Both works achieve much of their expression through the introduction of harmonic dissonance that is made structural. The resolution of these structural dissonances across the large spans of the works is brought about through their cyclic form. In the case of the Requiem, the cyclic form is used to depict a process of reconciliation suggested by its texts. In the Third Symphony, cyclic form is used to achieve processual structure. Certain analytical traditions of both works (the use of borrowings and reminiscences in the Requiem and debates surrounding absolute versus program music in the Third Symphony) are also explored. The concluding chapter summarizes the dissertation's analytical observations and reflects upon the heritage Brahms's interest in cyclic form may have left for those composers who followed him.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Music. $3 649088
655 7 $a Electronic books. $2 local $3 554714
690 $a 0413
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a State University of New York at Stony Brook. $3 1184540
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3067555 $z click for full text (PQDT)