The aim of this thesis is to compare the Requiems of Brahms and Verdi, two composers who are both amongst the greatest in our Western musical history, but completely different in significant aspects, the one being by nature introspective, serious, and even inclined towards melancholy in his creative work, whether done in a religious context or not; and the other being first and foremost a composer of operas, thus specializing in music for the stage or theatre, presupposing extroversion and even a degree of flamboyancy. Brahms never wrote any operas but his oeuvre is enhanced by symphonies, sonatas and concertos of serious intent, and especially by a body of wonderful chamber music (which is perhaps the most intimate genre in Western instrumental music). Verdi, on the other hand, is known almost exclusively for his operas, and wrote little else. Then Brahms was one of the great composers of the German Lieder, again a markedly intimate genre, which suggests that he paid constant attention to fine detail. In contrast, Verdi's mentality was that of the Italian opera composer who is more concerned with flowing melodic beauty, which is a "translation into music" of the meanings and tendencies of the text.

The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Réti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis. Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the Quintet as a cyclic Grundgestalt archetype.

This thesis is a study of four compositions written by Fanny Mendelssohn Hensel, older sister of Felix Mendelssohn. Her music is compared with four pieces composed by Felix. This study shows that Fanny was a gifted and creative composer, even surpassing Felix and predating Brahms with her compositional ideas and progressive uses of harmony. Despite her excellent education and recognition among those who knew her well, she did not publicize her talent in any way because of pressure from her father, Abraham, and Felix to stay within the prescribed societal confines of wife and mother.

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.

This thesis deals in particular with the pianist's approach to the Brahms Sonata for Piano and Violin in D Minor, Opus 108. There are two chapters, the first of which takes the form of a bibliography in which different theoretical aspects for consideration in the learning of the work are presented. One of the sections in the first chapter which is entitled The Pianist, should prove helpful to a prospective piano teacher, as well as a student of the Brahms Sonata in D Minor, Opus 10 8. In this section sources presenting different solutions to technical problems which the pianist is likely to encounter both generally, and specifically with regard to this Sonata, are listed. The other sections in this chapter include a discography and comments concerning recordings of the Sonata in D Minor, Opus 108, which a student of this work and its composer may consult. The second chapter of the thesis deals with specific issues involved in the interpretation based on my performance of the Sonata in D Minor, Opus 108, for the practical examination. Three other possible interpretations by well-known pianists are briefly evaluated. Attached to the thesis is a cassette tape on which recommendations for the practising of certain passages may be heard. / Thesis (M.Mus)-University of Natal, Durban, 1989.

This dissertation, which takes the form of a creative project as is sanctioned-by the Doctor of Arts Curricular Program, is a timpani method based on the performance practices of Edward M. Metzenger, the internationally recognized timpanist and teacher.Although Metzenger's entire life has been inextricably tied to the performance and teaching of music, specifically percussion, and his musical experiences run the gamut from dance to symphonic orchestras, including radio, television, and theater, lie will perhaps best be remembered for his thirty-three years of tenure with the Chicago Symphony Orchestra, thirty-one of which were as its solo timpanist.Metzenger's symphonic career is probably best viewed by an examination of the programs of the Chicago Symphony Orchestra beginning with the 1930-31 season and extending through the 1962-63 season. During these years the Chicago Symphony saw a number of permanent conductors at its helm from Frederick Stock to Fritz Reiner. Also, an extraordinary number of illustrious guest conductors and soloists worked with the orchestra during these years. (This information is presented in Appendix A; "Conductors, Associate Conductors, Soloists, and Assisting Artists of the Chicago Symphony Orchestra, 1930-1963.")The repertoire of this orchestra, performed during the years Metzenger was the solo timpanist, is most inclusive. The list of recordings made during this same period is also extensive. A perusal of this list (recordings) can perhaps yield an estimate of the orchestra's total repertoire. (This list of recordings is presented in Appendix B; "Recordings by the Chicago Symphony Orchestra, 1930-1963.")The foregoing, the Chicago Symphony Orchestra's conductors, soloists, and recordings, is noted to substantiate the artistic climate in which Metzenger performed during his tenure with this orchestra and, consequently, the vast fund of knowledge and practical experience which are his to impart.In an effort to capture and perpetuate the essence of the timpani performance practices of Edward M. Metzenger, the author formulated a method which includes a detailed discussion of these respective practices, provided numerous exercises for their development, and applied them to selected symphonic compositions.In "Part One" of this method the various timpani performance practices of Metzenger are discussed in detail and provided with abundant exercises with explicit practice proceduresfor their development. These performance practices include: ear training; the playing position; the mallet grip (fulcrum and use of fingers); the timpani stroke; the playing areas (legato, semistaccato, and staccato); movement between adjacent and nonadjacent drums with single strokes (pushing, cross sticking, and double sticking); the timpani roll (speed, between adjacent and nonadjacent drums, tied, separated, fortissimo, piano, fortepiano, crescendo-decrescendo, metered and unmetered, and symbols); muffling (pad and hands); the glissando; and grace notes (one, two, and three).The etude approach and the use of complex rhythms which in anyway would encumber the calculated aim of each specific set of exercises are avoided and supplanted by short repetitive figures which are devised to facilitate the acquisition of each distinct skill.It is not suggested that all the exercises of each section be completely mastered before progressing to the next, but that a continuing development be noted simultaneously in all the sections. The accumulated expertise gained through growth in these separate skills can then be applied to any performance situation whether it be as a soloist or as a member of an ensemble.It would be ideal indeed to edit each selection which was performed by the Chicago Symphony Orchestra while Metzenger was its timpanist; however, the breadth of this task is beyond the scope of this paper. In lieu of this comprehensive undertaking, in "Part Two" of this method, the timpani performance techniques required in the symphonies of Beethoven and Brahms are noted in detail. These compositions were selected because the techniques required for their execution are readily applicable to the demands of performing on the timpani in general."A Timpani Method Based on the Performance Practices of Edward M. Metzenger" can successfully be used independently as a means of developing the performer, or it can be used as ancillary material in combination with other methods, etudes, and solos to achieve this goal.

Although many volumes concerning the life and works of Johannes Brahms have been written, it has been found that the majority of these writings treat the material of the subject in a rather poetic and romanticized fashion. This is especially unfortunate in those volumes where the works of Brahms are analyzed with pragmatic implications, since Brahms himself eschewed the use of extramusical elements in his composition. This investigation, therefore, is an attempt to present a careful analysis of one of these compositions, the Quintet in B Minor, Op. 115, for clarinet and string quartet.

Different sections or movements of a piece are associated with each other and contain the composer essential thought. A vague affinity of mood and a resembling theme or form testifies to the relationship. However, the evidence is insufficient to reveal the unification of the different sections or movements since these are under restraint of external music proofs. In order to figure out the relationship, thus, identical musical substance should be discovered. In the study the substantial evidence, which can be called unity or unification, is mainly discussed. The unity is illustrated with Brahms's Horn Trio, Op.40 that is one of the Brahms's significant works. The unity found in the Horn Trio is based on the internal structure and structural voice-leading notes. The unity in the Horn Trio is the fundamental structural unity that is divided into initial ascent and voice exchange, and fundamental voice-leading motive. The fundamental unity seriously affects the master piece and penetrates the movements as a whole. Further, it reveals the hidden connections to the historical background of the Horn Trio and the philosophy of Brahms for the music. Even though a piece consists of several sections or movements, the entire piece presents homogeneity. The identity of the composer's underlying philosophical thought suffices to discern the musical unity in a piece. Thus, the investigation of unity is one of the critical ways to understand not merely a piece but also the philosophy of a composer. The study will help to enhance the audience's interpretation of music.

John Ireland is one of the most important British composers of the twentieth century. Many scholars believe the works of his early period were deeply influenced by Brahms. After graduating from the Royal College of Music, Ireland went on to develop a much more individual musical language, with influence from contemporary French composers. However, the young composer found himself confronted with the challenge of finding a new and personal style without turning wholly to impressionism or to chromaticism. In Ireland's Piano Sonata, Ireland adopted several of Brahms' compositional techniques. This piano sonata is an excellent example of one of Ireland's mature works that still demonstrates Brahms' influence.

The harmonic practices of the late romantic period are often discussed in general terms, categorical phrases, and a score of subjectivisms characteristic of the era. It is the purpose of this thesis to clarify certain aspects of the harmonic vocabulary which developed in the late romantic period.