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Chapter 33 - Analysis

from Part V - Reception and Legacy

Published online by Cambridge University Press:  15 May 2019

By
Heather Platt
Edited by
Natasha Loges  and
Katy Hamilton
Natasha Loges
Affiliation:
Royal College of Music, London
Katy Hamilton
Affiliation:
Royal College of Music, London
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Summary

Within a decade of Brahms’s compositions first appearing in print, supporters and proponents began subjecting his music to analysis. From that time onward, commentators across the centuries have continued to scrutinise his compositions, exploring both structural elements (motifs, harmonies, counterpoint, rhythm and form) and the relationship between structure and meaning. Over time, the theoretical frameworks behind these analyses have changed, as have the broader aesthetic and scholarly environments [see Ch. 16 ‘Genre’]. Nevertheless, the origins of some of the more influential analytical approaches can be traced back to Brahms’s contemporaries. This essay will focus on the work emanating from three of the most influential theoretical schools, those inspired by Arnold Schoenberg (1874–1951), Heinrich Schenker (1868–1935) and Hugo Riemann (1849–1919).

Keywords

BrahmscontextanalysisSchoenbergconservativeprogressiveSchubringRiemannSchenkertheory
Type
Chapter
Information
Brahms in Context , pp. 324 - 335
Publisher: Cambridge University Press
Print publication year: 2019

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References

Further Reading

Cohn, R., Audacious Euphony (Oxford: Oxford University Press, 2011), 117–21Google Scholar
Karnes, K., ‘Another Look at Critical Partisanship in the Viennese fin de siècle: Schenker’s Reviews of Brahms’s Vocal Music, 1891–92’, 19th-Century Music 26/1 (Summer 2002), 73–93Google Scholar
Knorr, I., Riemann, H., Sittard, J., and Morin, A., Johannes Brahms: Symphonien und andere Orchesterwerke (Berlin: Schlesinger’sche Buch und Musikhandlung, n.d.)Google Scholar
Lewin, D., ‘A Formal Theory of Generalized Tonal Functions’, Journal of Music Theory 26/1 (Spring 1982), 43–5CrossRefGoogle Scholar
Platt, H., ‘Text-Music Relationships in the Lieder of Johannes Brahms’, PhD dissertation, Graduate Center of the City University of New York (1992)Google Scholar
Platt, H. and Smith, P. (eds.) Expressive Intersections in Brahms: Essays in Analysis and Meaning (Bloomington: Indiana University Press, 2012)Google Scholar
Pomeroy, B., ‘The Major Dominant in Minor-Mode Sonata Forms: Compositional Challenges, Complications and Effects’, Journal of Schenkerian Studies 5 (2011), 75–89Google Scholar
Riemann, H., ‘Johannes Brahms (geb. 7. Mai 1833 zu Hamburg, gest. 3. April 1897 zu Wien)’, reprinted in Präludien und Studien III: Gesammelte Aufsätze zur Ästhetik, Theorie und Geschichte der Musik, 3 vols. (Leipzig: H. Seemann Nachfolger, 1901; rpt. Hildesheim: Georg Olms, 1967), vol. 3, 215–23Google Scholar
Riemann, H., ‘Die Taktfreiheiten in Brahms’ Liedern’, Die Musik (Berlin) 12/1 (October 1912), 10–21Google Scholar
Rings, S., Tonality and Transformation (Oxford: Oxford University Press, 2011), Chapter 6Google Scholar
Rohringer, S., ‘Zu Johannes Brahms’ Intermezzo h-Moll op. 119/1’, Zeitschrift für Musiktheorie 10/1 (2013), www.gmth.de/zeitschrift/artikel/707.aspxGoogle Scholar
Schoenberg, A., ‘Brahms the Progressive’, reprinted in Stein, L. (ed.) Style and Idea: Selected Writings of Arnold Schoenberg, trans. L. Black, (1975; rpt. Berkeley: University of California Press, 1984), 398–441Google Scholar

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  • Analysis
  • Edited by Natasha Loges, Royal College of Music, London, Katy Hamilton, Royal College of Music, London
  • Book: Brahms in Context
  • Online publication: 15 May 2019
  • Chapter DOI: https://doi.org/10.1017/9781316681374.033
Available formats
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  • Analysis
  • Edited by Natasha Loges, Royal College of Music, London, Katy Hamilton, Royal College of Music, London
  • Book: Brahms in Context
  • Online publication: 15 May 2019
  • Chapter DOI: https://doi.org/10.1017/9781316681374.033
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Analysis
  • Edited by Natasha Loges, Royal College of Music, London, Katy Hamilton, Royal College of Music, London
  • Book: Brahms in Context
  • Online publication: 15 May 2019
  • Chapter DOI: https://doi.org/10.1017/9781316681374.033
Available formats
×