This study is an attempt to investigate part form structures in Brahms' Intermezzi, Opp. 116-119. Chapter One deals with the stylistic perspective in Brahms' piano writing in general as compared to his late works. Chapter Two concerns three aspects: 1) structural norms in part forms which are presented in many currently available textbooks on musical forms, 2) application of selected Brahms Intermezzi to above norms, and 3) the role of cadential types in part forms. Chapter Three analyzes structural aspects of all the Brahms Intermezzi in Opp. 116-119 and comments on pieces which appear problematic in terms of structural layout. Chapter Four, deals with the relationship between different thematic types and overall formal schemes.

The aim of the following work is an attempt to focus on the broadly understood music of Johannes Brahms. The author of the work looks at selected works by the composer, which, in her opinion, can be helpful in working on any piece. Numerous searches in symphonic works, knowledge of individual chamber and vocal works can definitely help every musician find the unique sound of Brahms. All this is done with the composer's first piece in mind: Sonata in C major Op.1 No. 1, which the author of the work will perform at the diploma concert. The work below contains an analysis of the Sonata, conclusions, hints regarding the sound, the direction of work and numerous information about Brahms' life from the accounts of his friends. / <p>Johannes Brahms - Sonate No. 1 Op. 1 in C major </p> / no

Metric dissonance in Brahms’s music is not an unfamiliar topic. Hemiola, offbeat accents, and syncopations are Brahms’s common metric strategies. These metric manipulations often facilitate a displacement between the audible and the notated downbeats, leading many scholars to question the importance of Brahms’s notated meters and notated barlines. However, Brahms does not hesitate to change the notated meter when he wants a new one to prevail, especially in his solo songs. Out of 194 songs for solo voice with piano accompaniment written and published during Brahms’s life time, 41 of them involve notated meter changes. This dissertation offers a new perspective on the function and expressive effect of notated meter changes in Brahms’s songs—a topic that has gone largely unexplored in current scholarship on rhythm and meter. I outline three types of meter changes: (1) the brief appearance of a new meter or meters; (2) different meters for sections with different affects; (3) the quick and regular alternation of triple and duple/quadruple meters, a technique typical in Slovakian and Bohemian dances, which Brahms employed to preserve the composite rhythm in folk or folk-like poetry. A close analysis of the notated meter changes in Brahms’s songs reveals how much his careful attention to the notated meter reflects his sensitivity to the pacing of music and words. Drawing upon poetic prosody and metric analysis, this dissertation shows how this pervasive but underexamined aspect of Brahms’s songwriting style relates to both the sound and sense of the poems he sets.

This thesis introduces a web of concepts to analyse Brahmsian metre and move toward a more nuanced understanding of metrical expression and narrative in his music. Recent analytical studies of metre in common-practice Western classical music have utilised a powerful analogy of consonance and dissonance between tonal and metrical dimensions. More theoretical studies, particularly of Brahms's music, have investigated how metrical states can be systematised, both abstractly and by Brahms, to create a sense of tonicity. This thesis synthesises and extends these approaches. Metrical dissonance is suggested to offer only an insufficient purchase on Brahms's metrical style, and the concept of accentual counterpoint is suggested as an alternative that gives fuller power to the explication of Brahms's metrical complexity, but without reducing that complexity. The complexity of metrical states that Brahms employs, in turn, is explored. Brahms's path to the composition of extraordinary metrical complexity in his Op. 78 violin sonata shows both his increasing systematisation of metrical states and his increasing ability to separate and manipulate metrical accent-types, the latter supporting the concept of accentual counterpoint. That metre has expressive power invites the concept of metrical narrative. An attempt is made to unite a recent theory of musical narrative with metrical analysis, inviting readings of different narrative archetypes within Brahms's metrical trajectories, with a focus on non-romantic narratives as a complement to traditional readings of unity. The pitch-metre analogy, and particularly the typicality of tonicity in metrical organisation, is problematised by those works by Brahms that begin and end in different notated metres. These instances, apparent manifestations of directional metre, are analysed, principally using the theories of hypermetre, metrical dissonance, metrical states and accentual counterpoint, with the hypothetical concepts of organisation (directional metre, metrical narrative and metrical tonicity) as interactive heuristics. Moving from organisation back to expression, the thesis closes by exploring a problem within current theories of form and phrase structure: the difference between musical expansion and extension. It highlights a metrical manifestation of this created as an effect of accentual counterpoint, dubbed metrical expansiveness, and examines the interaction of this effect with form and narrative.

This recital features three members of the woodwind family: clarinet, flute, and bassoon. The primary focus of this recital is on the clarinet repertoire. The music ranges across the eras, from Baroque to 20th Century, and is written by composers from North America and Europe. Along with the wide range of compositional styles, the music presents the virtuosity and range of the woodwind family. Brahms��� Sonata for Clarinet and Piano, No. 1 demonstrates a very classical approach to the clarinet after he was inspired by clarinetist Richard M��hlfeld. Harvey���s Three Etudes on Themes of Gershwin focuses more on a jazz and theatrically inspired side of the clarinet. Copland���s Clarinet Concerto, composed for Benny Goodman, incorporates classical, jazz, and North and South American elements. All of these works exemplify the woodwind family and their capabilities. / Mary Pappert School of Music / Music Performance / MM; / Recital;

The young age of the saxophone in the existence of the music world has influenced the instrument���s repertoire and programs to be versatile in genres and stylistic influences. This program features styles from several time periods and cultures including 20th and 21st century contemporary saxophone and piano duets, Brazilian choro, electronic music, and jazz. The nature of the instrument also allows pieces written for other instruments to take a different characteristic and open new meaning to a piece when played on the saxophone. For example, the element of passion in Brahms���s Sonata in F minor No. 1 for clarinet takes on new form when played on the saxophone. The goal of the program is to feature both music that the saxophone is important in creating, and that is important in the existence of the saxophone as a solo and ensemble instrument. / Mary Pappert School of Music; / Music Performance / MM; / Recital;

Brahms is an important German romantic composer.In additional to his outstanding output in orchestral composition, he also finished thirty-four female choral pieces. Most of them were written during 1857-62, when he was still in Hamburg and dirdcting the Hamburg Women's Chorus. Opus17 belongs to this category. It is for three-part female choir, with harp and horns as the accompaniment. It includes four short pieces, text in German, with the feeling of lament. The form is simple and clear. The texture is mostly choral. The melodies in each vocal part are not difficult; however, it is the harmonic color that gives this work its special taste. This thesis consists of five chapters. The first chapter is the introduction. The second chapter inclides three parts. Part one introduces the life of Brahms. Part two is the chronological discussion of Brahms choral composing. Part three focuses on the female choral works. The third chapter analyzes the four pieces of Brahms Opus 17. The fourth chapter presents suggestions for teaching Opus 17, including vocalization, interpretation, diction, and conducting technique. The fifth chapter draws conclusion from the study.

Treatise (D.M.A.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 103-107). Available also in a digital version from Dissertation Abstracts.

Thesis (M. Mus.)--University of Queensland, 2002. / Includes bibliographical references.

<p>Examination:</p><p>J.S Bach, prelude ur svit no. 3 i C-dur för solo violaJ. Brahms, Allegro Appassionata ur sonat i F-moll op. 120 no. 1W. Walton, andante comodo ur konsert för viola och orkesterVid flygeln, Erik Lanninger</p>