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Journal Article
Journal of Music Theory (2008) 52 (2): 273–320.
Published: 01 October 2008
... cycles. Strictly tiered polyphony figures prominently in Brahms's piano music, where it lends passages an aura of extreme drive and inexorability. Importantly, awareness of this texture can provide insights into Brahms's works unavailable through conventional approaches. The analytical portion...
Journal Article
Journal of Music Theory (2009) 53 (1): 1–56.
Published: 01 April 2009
..., a metric cube connects two meters if their ordered factor representations differ by only one factor. Metric cubes, and metric operations that act on the contents of a cube, reveal patterns of metric structure in three works by Brahms: the first movement of the Third Symphony op. 90, the third movement...
Journal Article
Journal of Music Theory (2004) 48 (2): 337–354.
Published: 01 October 2004
...Heather Platt Peter H. Smith Expressive Forms in Brahms's Instrumental Music: Structure and Meaning in His Werther Quartet Indiana University Press, 2005: ix+325 pp. ($49.95 cloth) 2004 © Yale University, New Haven, Connecticut 06520 2004 Agawu, Kofi. 1997 . “Analyzing Music under...
Journal Article
Journal of Music Theory (2006) 50 (2): 143–179.
Published: 01 October 2006
...Peter H. Smith Associative harmony functions as a powerful resource through which Schubert and Brahms fashion continuities within the dialectic of articulation and continuity that stands at the heart of the Viennese sonata style. More specifically, the technique of harmonic cross-reference provides...
Journal Article
Journal of Music Theory (2023) 67 (1): 71–98.
Published: 01 April 2023
...Benedict Taylor Abstract One of the most prominent characteristics of Johannes Brahms's approach to sonata form is the return to the tonic at the start of the second section (or “rotation”) for a restatement of the exposition's primary theme. Well-known examples include the finales of the First...
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 4a. Brahms, Violin Sonata no. 2 in A major, op. 100, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 4b. Brahms, Violin Sonata no. 2 in A major, op. 100, i, start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 1a. Brahms, Violin Sonata no. 3 in D minor, op. 108, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 1b. Brahms, Violin Sonata no. 3 in D minor, op. 108, i, start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 2a. Brahms, Violin Sonata no. 1 in G major, op. 78, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 2b. Brahms, Violin Sonata no. 1 in G major, op. 78, i, start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 5a. Brahms, Piano Trio no. 2 in C major, op. 87, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 5b. Brahms, Piano Trio no. 2 in C major, op. 87, i, start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 6a. Brahms, Piano Trio no. 3 in C minor, op. 101, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 6b. Brahms, Piano Trio no. 3 in C minor, op. 101, i, start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 7. Brahms, Violin Sonata no. 2 in A major, op. 100, i, end of exposition and start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 3a. Brahms, Clarinet Sonata no. 2 in E-flat major, op. 120/2, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 3b. Brahms, Clarinet Sonata no. 2 in E-flat major, op. 120/2, i, start of development
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Journal Article
Journal of Music Theory (2014) 58 (2): 103–154.
Published: 01 October 2014
...Robert Snarrenberg Proceeding from the premise that a nineteenth-century German lyric song is a reading of its text, the author develops new resources for describing acts of reading poetry and establishes the analytical relevance of the approach using examples drawn mainly from songs by Brahms...
Journal Article
Journal of Music Theory (2011) 55 (2): 253–264.
Published: 01 October 2011
... .” In German Lieder in the Nineteenth Century , ed. Hallmark Rufus , 92 – 141 New York : Schirmer . Henschel George . 1907 . Personal Recollections of Johannes Brahms: Some of His Letters to and Pages from a Journal Kept by George Henschel . Boston : Richard G. Badger . Jenner...
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