Note: Missing front matter & Disc

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 317-347).

Thesis (D. Mus. Arts)--University of Washington, 2001. / Vita. Includes bibliographical references (leaves 130-132).

Thesis (Ed.D.)--Teachers College, Columbia University, 1972. / Includes bibliographical references (leaves 233-237). Sponsor: Robert Pace. Dissertation Committee: Charles W. Walton, . Includes bibliographical references.

Poon Ching Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 165-170). / Abstracts in English and Chinese. / Abstract --- p.iv / Acknowledgements --- p.viii / List of Tables --- p.x / Introduction --- p.1 / Chapter Chapter 1 --- The Genre of Song Cycle --- p.5 / Chapter Chapter 2 --- Is Op. 33 a Song Cycle? --- p.34 / Chapter Chapter 3 --- Lieder Performance in the Nineteenth Century --- p.49 / Chapter Chapter 4 --- Analysis of Op.33 --- p.61 / Chapter Chapter 5 --- Brahms and the Opera Problem --- p.109 / Chapter Chapter 6 --- Opera and Op.33 --- p.124 / Conclusion --- p.137 / Appendix Poetic and Musical Structures of Op.33 --- p.141 / Bibliography --- p.165

Photocopy of typescript. / Digitized by Kansas Correctional Industries

Johannes Brahms’s Sonata No. 2, Opus 99 is considered an important work of the cello repertoire. With the lack of Romantic-era transcriptions, specifically Brahms, the purpose of this project was to create a new transcription to add to the alto saxophone repertoire. The paper examines Brahms’s own transcription of Sonata Nos. 1 and 2, Opus 120 as an example of a clarinet to viola transcription. Additionally, the paper discusses in detail the necessary changes to the music, as well as offering technical suggestions for the issues encountered when transcribing from a stringed to a wind instrument. The paper concludes with a complete transcription of Brahms’s Sonata No. 2, Opus 99 for alto saxophone and piano.

Thesis (M.A.)--Ohio State University, 1973. / Includes bibliographical references (leaves 105-106). Available online via OhioLINK's ETD Center

Johannes Brahms¡]1833-1897¡^composed the ¡§Cello Sonata in F Major, Opus 99¡¨ in 1886. Brahms composed two sonatas for cello and piano in his lifetime. One of the cello sonatas that Brahms composed had been during the middle period of his life. While the second cello sonata had been composed during the late period of his life. These two cello sonatas showed different styles in different life time. This study is mainly based on ¡§Cello Sonata in F Major, Opus 99¡¨. It will explore the composing background and the techniques, as well as the cello techniques of this sonata. In addition, the paper would initially mention the brief introduction to Brahms chamber music in late period. Moreover, the cellists who had been around Brahms had given him good advice to word his compositions and analyzes the creation technique of cello sonata in F major, with a focus on alternation rhythm and development variation. Lastly, it will explore the cello performing techniques. I hope it will be helpful to the performer and also the performer who plays the sonata would already have the good technical ability. Besides that, able to understand the details of the content in this sonata the performer would be.

The European arts in the nineteenth century went through significant changes with the advent of romanticism. In respect to music, more and more composers at that time set out to express their emotions through the beauty of sounds and rhythms, imbuing their works with multiple elements and alterations. However, the overemphasis on the subjective experience of the composers led to the gradual loss of simplicity and purity in their music. At that time, Brahms abondoned the artistic trend of the epoch and refused its pompous and exaggerated style. Devotedly following Bach, Beethoven and Schuman in their aesthetic perspectives and musical creations, Brahms composed absolute, introspective, sincere and in-depth works in the classical form. Variations on a Theme by Haydn, op. 56 composed by Brahms in 1873, was the representative piece marking his shift from large piano works to orchestra works, exhibiting the master¡¦s habitual use of composition skills and mature variation techniques. The two pianos version (op. 56b), as Brahms¡¦ most important work of its kind, illustrated how he took advantage of the strength of two pianos to arrange multiple voices with expertise. This piano piece pushed the artistic value of Brahms¡¦ two pianos works to its peak in the musical history and launched their golden age. Chapter One of this thesis gives the definition of variations, introduces its types and discusses the historical specificity of the variations of the nineteenth century. Chapter Two introduces the life of Brahms and his variations. Chapter Three probes into the composing skills, variation techniques and features illustrated in Brahms¡¦ Variations on a Theme by Haydn, op56b. Chapter Four examines the history of two pianos and gives suggestions on the performing of two pianos works.