... 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...

..., 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...

...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) REVIEWED...

...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...

...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...

... .” 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...

... Moortele and such like-minded theorists as Horton and Wingfield. Examination of Horton’s recent analysis of Brahms’s First Symphony reveals the unacknowledged presence of classical norms casting a “negative” light—although an essential and beneficial one—on his presumably “positive” methodology. A corpus...

...- cal challenges they pose, but also for their artistic consequences. The sec- ond movement of Schubert’s A-major Piano Sonata, D. 664, the scherzo of his Cello Quintet, D. 956, and the first movement of Brahms’s Clarinet Trio, op. 114, demonstrate the impact melodic-harmonic conflicts can have...

...–A) in the first piano piece. Scholars have noted this revision, acknowledging Brahms’s role as the anonymous editor of these pieces. Yet why Schubert crossed out this entire section in the manuscript remains unanswered. Focusing on the first two Klavierstücke , since both occur within the same manuscript...

..., as reflected, for example, in the reception of the music of his protégé Brahms. As Inge van Rij (2006, 168) puts it, “Performance is just one facet of the dissemination of the musical work, for compositions have a ‘life on paper’ as well as a ‘life in per...

... (1921–1924), the three year- books of Der Meisterwerk in der Musik (1925, 1926, 1930), and Brahms’s Oktaven und Quinten u[nd] A[nderes] (1934).2 Anyone seeking intimate acquaintance with Schenker’s thought must thoroughly apprehend their manner and substance. A recent anthology sustains...

... orchestration of the “Rondo alla Zingarese” from Brahms’s G-minor Piano Quartet matches “indirectly related” harmonies with vivid wind and percussion colors and “closely related” harmonies with string-centered sonorities. Jeffrey DeThorne earned his Ph.D. at the University of Wisconsin-Madison. His...

... of the piece or reset the durational clocks of the piece for proper cadential closure. Examples range from Handel’s keyboard suites and Concerti Grossi, op. 6, as well as Bach’s English Suites, to Couperin’s B-minor Passacaille and Brahms’s Capriccio, op. 76/2. Metrical Displacement and Metrically Dissonant...

... main claim, that three songs by Hugo Wolf ending on nontonic chords suggest that they contain Schenkerain prolongations, being at once dissonant and tonal. The article ends by considering three tonal works by Brahms, Debussy, and Schoenberg that, though tonal and not completely dissonant, contain...

.... As such, the archetypes function as ideologies of the musical text and as ideologies of the reader. The article illustrates these ideas with analyses of Chopin's Nocturne in B, op. 32/1, Chopin's Second Ballade, and Brahms's Rhapsody in E♭, op. 119/4. Ironic Narrative, Ironic Reading...

... . Darcy Warren . 2001 . “ Rotational Form, Teleological Genesis, and Fantasy-Projection in the Slow Movement of Mahler’s Sixth Symphony .” Nineteenth-Century Music 25 , no. 1 : 49 – 74 . Daverio John . 1994 . “ From ‘Concertante Rondo’ to ‘Lyric Sonata’: A Commentary on Brahms’s...

... a more dynamic approach to prolongation. Keywords  arpeggiation, prolongation, Heinrich Schenker, Johannes Brahms the concept of prolongation in Schenkerian analysis broadly describes “the elaboration in time of a governing vertical sonority” (Salzer and Schachter 1969, 144). Among the most...

... of Music Theory also offered numerous helpful suggestions. Peter H. Smith, author of Expressive Forms in Brahms’s Instrumental Music (2005) and coeditor and chapter contributor for Expressive Intersections in Brahms (2012), is professor and chair of the Department of Music at the University...

.... Huddleston, Rodney and Geoffrey K. Pullum, eds. 2002 . The Cambridge Grammar of the English Language . Cambridge: Cambridge University Press. Hull, Kenneth. 1998 . “Allusive Irony in Brahms's Fourth Symphony.” In Brahms Studies , ed. David Brobeck, vol. 2 , 135 -68. Lincoln: University of Nebraska...

.... © 2012 by Yale University 2012 I am grateful to Robert Gjerdingen and Ian Quinn for their helpful comments on earlier drafts of this article. Works Cited Altmann Wihelm , ed. 1920 . Johannes Brahms im Briefwechsel mit Breitkopf und Härtel, Bartolf Senff, J. Rieter-Biedermann...