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

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Pang, Pui Ling. / Thesis submitted in: October 2008. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 154-169). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Grasping Genre --- p.1 / Purpose and Outline of Study --- p.1 / The Concept of Genre --- p.3 / Classic View --- p.5 / Recent Views --- p.12 / Contemporary Study of Genre in Music --- p.15 / Historical Study of Genre --- p.16 / Hermeneutic Study of Genre --- p.18 / Study of the Serenade as a Musical Genre --- p.19 / Chapter Chapter 2 --- The History of Serenade to the End of the Eighteenth Century --- p.21 / The Origin of Serenade --- p.21 / Early Serenades and the Vocal Tradition --- p.26 / Emergence of Instrumental Serenades --- p.30 / Serenades and Related Genres in the Eighteenth Century --- p.34 / Mozart 's Serenades --- p.41 / Chapter Chapter 3 --- "Intellectual, Social, and Stylistic Backgrounds" --- p.48 / Contextual Changes at the Turn of the Nineteenth Century --- p.48 / Serenades in the Early Nineteenth Century --- p.55 / Chamber Serenades --- p.55 / Serenades by Leading Composers of the Period --- p.57 / Serenades in the Operas --- p.65 / Chapter Chapter 4 --- Brahms's Serenades --- p.69 / Compositional Background --- p.69 / Music Analysis --- p.82 / "Serenade in D Major, op. II" --- p.83 / "Serenade in A Major, op. 16" --- p.92 / Brahms's Borrowings --- p.98 / Instrumentation and Tonal Plan --- p.100 / Early Reception --- p.103 / Chapter Chapter 5 --- Serenades in the Late Nineteenth Century --- p.109 / Serenades for Orchestra --- p.110 / Volkmann and His String Serenades --- p.113 / "String Serenades of Dvorak, Tchaikovsky, Suk，and Elgar" --- p.118 / "Dvorak's Wind Serenade in D Minor, op. 44" --- p.123 / Serenade as a “Miniaturéح Symphony --- p.125 / Other Serenades --- p.130 / Single-movement Serenades for Orchestra --- p.131 / Serenades for Chamber Ensemble --- p.133 / Serenades for Solo Piano --- p.135 / Chapter Chapter 6 --- Grasping the Elusive Serenade --- p.139 / The History of the Serenade Revisited --- p.139 / Brahmśةs Role in Shaping the Serenade --- p.141 / Brahms's Invitation to Form --- p.143 / The Generic Web --- p.144 / Appendix Serenades in the Late Nineteenth Century --- p.147 / Bibliography --- p.154

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This dissertation develops an analytical model for studying the specific nature of "themes of return" in the instrumental music of Brahms. Such a formal type, whose most familiar examples are the period and the small ternary, is distinguished by the presence of a "return," that is, the restatement, after intervening material, of its initiating material, which performs the same function as it did in its first appearance. / Brahms' return structures are analyzed according to four parameters: cadence, return, phraseology (which combines aspects of grouping, accentuation and rhythmic activity) and variation of tension (produced by the combined action of such factors as the curve of the melodic line, dynamics and surface and harmonic rhythms). / Brahms' use of cadence and return differs fundamentally from that of classical composers. His cadential gestures are subjected to a looser categorization and articulate broader tonal relations than those found in classical practice. With respect to his treatment of return, he differs from classical composers largely in the influence of underlying factors, such as greater continuity in texture or a tendency to avoid an over-predictibility in cadential organization. The study of cadences and returns thus leads to the identification of formal traits characteristic of Brahms, including the use of structures beginning off tonic harmony. / Both the phraseology and the variation of tension in Brahms' themes exhibit a striking diversity in organization. For example, the phraseology may feature a grouping hierarchy based on a binary division combined with an irregular pattern of accentuation, an additive structure associated with a regular accentuation, or asymmetrical groupings. Variations in tension are often organized around a climax; however, the size and range of the fluctuations in tension can vary considerably, the accumulation of intensity which prepares the climax may be accomplished by different combinations of parameters, and each climax may occupy a different position within a given segment. / Return structures, so abundant in the Brahms' instrumental music, feature a great variety in their organization. This abundance and diversity is due to the structural type's ready adaptability to the particular demands of Brahms' musical style.

One of the remarkable features of Brahm's B-flat major Intermezzo for piano, Op. 76, no. 4 is the ambiguity of its tonal definition. The work disclosed a contrapuntal tension between its fundamental structural-harmonic organization, which is based on an incomplete harmonic progression (V7-I), and its more remote intermediary tonal areas, which Brahms implies throughout the Intermezzo but to which he never wholly commits. / The aim of this investigation is to illustrate how tonal ambiguity is achieved though recurrent "incompletions" of the expected (or at least the more likely) harmonic progressions. The thesis undertakes a detailed study of Brahms' Intermezzo, Op. 76, no. 4, in B-flat major, with additional reference to the openings of Opp. 118, no. 1 (A minor); 118, no. 6 (E-flat minor); 119, no. 1 (B minor); 117, no. 2 (B-flat minor) and 76, no. 8 (C major). The study combines a Schenkerian linear-reductive approach with observations based on phenomenology--after Leonard Meyer and David Lewin--and narrative, after Edward T. Cone.

Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-25T22:36:57Z (GMT). No. of bitstreams: 1 Fiorini_CarlosFernando_M.pdf: 5182383 bytes, checksum: b49c0ab061fa9fd089cc0e3b639a8fa2 (MD5) Previous issue date: 1999 / Resumo: Tendo em vista a preparação de um regente que se dispõe a executar um Réquiem Alemão op. 45 de Brahms, o presente trabalho sugere um processo para auxilia-los desde o primeiro contato com a partitura até a sua apresentação em concerto. Os capítulos são divididos em duas partes: A primeira refere-se à pesquisa teórica desenvolvida antes do início dos ensaios. São tratados separadamente em três capítulos os aspectos históricos, o texto e os elementos da estruturação musical. O quarto capítulo compõe a parte prática do trabalho, onde são discutidos os problemas de ordem técnica nos âmbitos vocal, coral e orquestral, e apresentadas sugestões a serem utilizadas nos ensaios. È o capítulo que na opinião do autor, justifica o esforço de realizar este trabalho, pois nele o regente pode encontrar registrado subsídios que possam auxilia-lo durante o contato com cantores e instrumentistas no preparo da obra / Abstract: Primarily addressed to the conductor who plans to perform A German Requiem op. 45 by Brahms, this work presents a study process that will assist him with the preparation of the composition from the very initial contact with the musical score to its ultimate public performance. Two parts comprise this work. The first, dealing with theoretical research developed prior to the first rehearsal, encompasses the first three chapters where historical perspective and background as well as text and structural musical elements of the work are studied separately. The second, constituted entirely by the fourth chapter, discusses technical problems in the vocal, choral and orchestral areas., and presents suggestions that could be useful in the course of rehearsals. It is the chapter that, in the opinion of the author, justifies all the effort of the present study. It is here where the conductor can find elements and subsidies that can be of help in the course of his relationship with singers and player engaged in the preparation of the work / Mestrado / Mestre em Artes

"Variation is one of the oldest and most elemental types of music, beloved and practised by all musicians since the early lute and keyboard composers." The principle of the variation is that of "variety within unity, secured by the reproduction of limited musical material in changing aspects and is fundamental to composition." Typical instances are the use of fugal themes in changing combinations and with changing counter-material; continuous sequential expansion of a single motif in the baroque sonata or suite; the symphonic development in classical sonata form; ornamentation, compression, extension or elaboration of recapitulated sections. Intro., p. 1.

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