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Brahms and the Scherzo

DOI link for Brahms and the Scherzo

Brahms and the Scherzo book

Studies in Musical Narrative

Brahms and the Scherzo

DOI link for Brahms and the Scherzo

Brahms and the Scherzo book

Studies in Musical Narrative
ByRyan McClelland
Edition 1st Edition
First Published 2010
eBook Published 15 April 2016
Pub. location London
Imprint Routledge
DOI https://doi.org/10.4324/9781315569833
Pages 336 pages
eBook ISBN 9781315569833
SubjectsArts
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McClelland, R. (2010). Brahms and the Scherzo. London: Routledge, https://doi.org/10.4324/9781315569833

Despite the incredible diversity in Brahms's scherzo-type movements, there has been no comprehensive consideration of this aspect of his oeuvre. Professor Ryan McClelland provides an in-depth study of these movements that also contributes significantly to an understanding of Brahms's compositional language and his creative dialogue with musical traditions. McClelland especially highlights the role of rhythmic-metric design in Brahms's music and its relationship to expressive meaning. In Brahms's scherzo-type movements, McClelland traces transformations of primary thematic material, demonstrating how the relationship of the initial music to its subsequent versions creates a musical narrative that provides structural coherence and generates expressive meaning. McClelland's interpretations of the expressive implications of Brahms's fascinatingly intricate musical structures frequently engage issues directly relevant to performance. This illuminating book will appeal to music theorists, musicologists working on nineteenth-century instrumental music and performers.

TABLE OF CONTENTS

chapter 1|26 pages

Introduction: Theoretical and Repertorial Contexts

chapter 2|46 pages

The Early Minor-Mode Scherzos: Ghosts of Schumann

Byand Beethoven

chapter 3|54 pages

Minuets, Scherzos, and Neoclassicism

chapter 4|28 pages

The Pastoral Scherzos

chapter 5|40 pages

Some Intermezzos

chapter 6|56 pages

The Late Minor-Mode Scherzos

chapter 7|16 pages

Waltzing Away with the Minuet

chapter 8|20 pages

Three Imposters

chapter 9|14 pages

The Case of the Fourth Symphony and Some Concluding Thoughts

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