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Expressive Forms in Brahms's Instrumental Music : Structure and Meaning in His Werther Quartet /

The result is an elucidating and original interpretation of the music of a celebrated composer, and a significant addition to studies in music theory."--Jacket

Detalles Bibliográficos
Autor principal: Smith, Peter Howard
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Bloomington : Indiana University Press, 2005.
Colección:Book collections on Project MUSE.
Temas:
Acceso en línea:Texto completo

MARC

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100 1 |a Smith, Peter Howard. 
245 1 0 |a Expressive Forms in Brahms's Instrumental Music :   |b Structure and Meaning in His Werther Quartet /   |c Peter H. Smith. 
264 1 |a Bloomington :  |b Indiana University Press,  |c 2005. 
264 3 |a Baltimore, Md. :  |b Project MUSE,   |c 2017 
264 4 |c ©2005. 
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490 0 |a Musical meaning and interpretation 
505 0 |a Quintessential Brahms and the paradox of the C-minor piano quartet : a representative yet exceptional work -- Analytical preliminaries : Brahms's sonata forms and the idea of dimensional counterpoint -- A Schoenbergian perspective : compositional economy, developing recapitulation, and large-scale form -- Brahms and Schenker : a mutual response to sonata form -- Brahms's expository strategies : two-part second groups, three-key expositions, and modal shifts -- Toward an expressive interpretation : correlations for suicidal despair -- Intertextual resonances : tragic expression, dimensional counterpoint, and the great C-minor tradition. 
520 8 |a The result is an elucidating and original interpretation of the music of a celebrated composer, and a significant addition to studies in music theory."--Jacket 
520 1 |a "Johannes Brahms's dramatic Piano Quartet in C Minor, Opus 60, famously known as the Werther Quartet, forms the basis for Peter H. Smith's illuminating theoretical study. Throughout the book, Smith synthesizes the often-opposed approaches of Schenker and Schoenberg, discussing the interaction of different parameters (rhythm, form, key centers, etc.) in a "dimensional counterpoint," and addressing issues of expression in music - particularly those of tragedy and transcendence. Smith then extends his analysis beyond the isolated work, connecting the composer's approach in this piano quartet to comparable works by Brahms, and broadening the analysis to works of Beethoven and Mozart 
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600 1 0 |a Brahms, Johannes,  |d 1833-1897.  |t Quartets,  |m piano, violin, viola, cello,  |n no. 3, op. 60,  |r C minor. 
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