Sonata fragments: romantic narratives in Chopin, Schumann, and Brahms
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| Schriftenreihe: | Musical meaning and interpretation
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| adam_text | Contents
Acknowledgments ix
Introduction: Romantic Musical Discourse, or, a Rhetoric of
Romantic Music 1
Part I. Fragmentation and Atemporality
1 Fragmentation: Aesthetics of Nineteenth-Century Romanticism 29
2 Atemporality in Narrative and Music 34
Part II. Structural and Rhetorical Strategies in Music with
and without Text
3 Music with Text: Two Slow Movements by Brahms 51
4 Music without Text: Forms of Atemporality 82
Part III. Brahms’s Piano Sonatas
5 Treatment of the Medial Caesura 125
6 Treatment of the S-Space 132
7 Treatment of the Development and Recapitulation 155
8 Treatment of the Slow Introduction and Coda 168
Conclusion 277
Selected Bibliography 279
Index 299
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Index
Page numbers in italics refer to illustrations and musical examples. Works by composers are arranged in
the order of the opus number: Opus numbers have been set in italics for clarity.
Abbate, Carolyn, 41, 58
action spaces, 39
arabesque, 26-27,29
Arcadia topic: Classical norm as, 151-152,170-172,
171, 174-175; in development sections, 156-157,
159; gateway passages and, 77-78; in Gesang-
sthema S-themes, 82, 85, 113, 134-140, 136-137,
141,144-146; in interpolated interjections, 102;
major/minor binary opposition and, 133-135;
overview, 21-22, 30-31013; recapitulation of,
107; Romantic pastoral narrative type, 65, 77-
78,126-128,130,134-140; suppression/mocking
of, 140-143» 144-145» 147
Bach, Johann Sebastian, 172,173
Bakhtin, Mikhail, 42-43
bardic style, 169-170
Baroque aesthetic, 55
Barthes, Roland, 42
Beethoven, Ludwig van: Brahms references to,
56, 130, 139, 141-142, 142, 145, 168-170; caden-
tial events in, 148; Chopin references to, 94;
development sections, 160; fate motive, 56, 92,
94, 130, 138, 145, 160; narrative conflict in, 178;
parenthetical enclosures, 8oni9; sonata devel-
opment by, 6; structural discontinuities in,
41; tragic-to-triumphant plots in, 133. Works:
Piano Sonata in C minor, op. 13 (“Path6tique”),
141-142,142; Symphony no. 3 in E|, major, op. 55
(“Eroica”), 160,178; Overtures to Coriolan, op.
62,134; Symphony no. 5 in C minor, op. 67, 56,
133; Symphony No 6 in F major, op. 68 (Pastoral
Symphony), 21; Piano Concerto No. 5 in E[, ma-
jor, op. 73 (“Emperor”), 168-170, 169; EgmonU
op. 84,134; Piano Sonata no. 30 in E major, op.
109, i2onn
Berger, Karol, 34-35» 44» 461122
Bloom, Harold, 25
Booth, Wayne C., 13-15, 3onio, 39-40,149
Bozarth, George, 68-69, 69, 75, 8on24,120015
Brahms, Johannes: dimensional counterpoint in,
114-116; early piano sonatas, historical context
of, 123; fragmented recapitulation in, 162-165;
hypothetical S-theme proposals, 117, 126, 129,
137, 147, 157-162, 160; major/minor binary op-
position and, 133; narrative strategies in, 41;
“Rückblick” intermezzo of, 104
Piano Sonata in C major, op. 1: ambiguous
transitions in, 114-118; conflated atemporality
in, 143; development section, 155-158; devel-
opment sections, 177; disruption of narrative
flow, 53, 57-58,101; dissolving-restatement TR-
type, 126; durational atemporality in, 58-66,
58, 62, 85-86; expressive motivation in, 56-57»
57» 93-94; external narrating agents in, 58-61;
narrative motivation in, 85-91, 88-89; narra-
tive voice in, 52-53» 54-55» 55-56; recapitula-
tion in, 162-164; Romantic fragment aesthetic
in, 12; as “Verstohlen geht” setting, 51-53» 52»
67-69» 74» 78nni, 2
Piano Sonata in F# minor, op. 2: Brahms bio-
graphical correlations in, 146-147; Classical
form in, 69-70, 70; conflated atemporality in,
143; development sections, 158-159; diegetic
coda in, 171-172,172; diegetic shifts in, 168-169;
dissolving-restatement TR-type, 125-126; dura-
tional atemporality in, 70-71» 70-76,73~745 me-
dial caesura in, 125-126,126; as “Mir ist leide”
setting, 67-73, 68-69; narrative strategies in,
41, 67, 87, 91; poetic slow movements, 51; reca-
pitulation in, 162-165; Romantic fragment aes-
thetic in, 12,135-140; ruptured atemporality in,
76-77,107,127,136-140,145; S-theme fragmen-
tation in, 135-140,144-146,144, 177; transition
in, 4-6, s-6; unconventional structure of, 11
Piano Sonata No. 3, op. 5: Brahms biographi-
cal correlations in, 146; conflated atemporality
in, 103-108,105-106; development sections, 160,
177; diegetic coda in, 172-175; narrative moti-
vation/longing in, 120П16; narrative voice in,
106-107; post-МС interpolation in, 128-131,
129; recapitulation in, 165-166; Romantic frag-
ment aesthetic in, 12; ruptured atemporality in,
116,118,160; sonata structure of, 117; spatiality
in, 106-107; S-theme fragmentation in, 140-
143; transition in, 125-126,129,131m
Violin Sonata in A major, op. 100,161-162
Violin Sonata in D minor, op. 108,161-162
199
200 j Index
British Romanticism, 27
Brooks, Peter, 14
Bruckner, Anton, 12,151,178
Byron, Lord (George Gordon), 27
cadences: ambiguous transitions and, 4, 94,114-
118; door closing/opening with, 8om6; expand-
ed cadential progressions, 66,8on22; historical
context and, 148, 151-152; as narrative devices,
53-54, 75; as normative devices, 11; suppressed
cadences, 61, 65-66, 174; in temporal layering,
60
Caplin, William E., 66, 84
Cervantes, Miguel de, 26-27
Chicago School of literary criticism, 20-21
Chopin, Frédéric: Arcadia topic in, 3o-3ini3; in-
fluence on Brahms, 123; major/minor binary
opposition and, 133; nocturnes, 3-4
Ballade No. 1 in G minor, op. 23,133,135,170
Ballade No. 4, op. 52,133,135,152ml
Piano Sonata in B minor, op. 58: chromatic
disturbances in, 1-4, 91-96, 92-93, 101-102,
i2onn; developmental themes, 161; disruption
of narrative flow, 11, 101-103, 138; dissolving
TR-type, 91,97,98,113» 126; mm. 1-45,2-3; pre-
MC interpolation in, 125; recapitulation in, 166;
ruptured atemporality in, 91-92,92-93; sonata
structure of, 6
chromatic harmony: chromatic disturbances, 57,
74-75» 91-96, 92-93» 120ml; chromatic transi-
tions, 1,11; enharmonic equivalences, 93,107
chronotopes, 42-43,108
cinematic narrative, 47n32, 79ni3
Classical aesthetic: atemporal narrative structure
in, 62; in Brahms op. 2/iy 126-128; in Brahms’s
developmental sections, 160-161; four-bar
phrases in, 63,70-72, 82, 91, 96-98, i2oni2; in-
fluence on Romantic literature, 19, 22-28; ma-
jor/minor binary opposition, 132-133; narrative
conflict in, 178; normative sonata temporality,
44; normative “subdominant recapitulations,”
162, i66-i67n6; partimento tradition and, 170,
171; piano sonata influences in, 12; rotational
ordering, 155-156, 166m; in Schuman op. 11/iv,
108
codas: deflected codas, 145-146; diegetic co-
das, 171-175, 172; as extrastructural, 140; in-
troduction-coda frames, 170-171; narrative
motivation and, 66, 8on24, 104, 117, i20ni6;
recapitulation-coda complexes, 163; violent
coda in Brahms op. 2,147
Coleridge, Samuel Taylor, 27
concertos, 19
Cone, Edward T., 3onio
Darcy, Warren, 12, 38-39, 62, 8oni6,169-170. See
also Sonata Theory
Daverio, John, 26-27,41
deformation theory, 46025,148-151
description vs. narration, 47032
development sections: Brahms hypothetical S-
theme proposals, 117,126,129,137,147,157-162,
160; Classical norms and, 160-161; develop-
mental P-themes, 4,155-156; dissolution of, 147;
Romantic aesthetic and, 155; stalled develop-
ment, 42; temporality of, 15 m8
dialogism, 42
Dickensheets, Janice, 41, i52-i53ni3, I53m8,
169-170
Diderot, Denis, 23
discourse, 14,41-42
dramatic genre, 34-35» 39-40, 42
emplotment, 14,4505,146
Enlightenment: piano sonata influences from,
12; progress theme in, 22; Romantic borrow-
ings from, 19, 23; Romantic rejection of, 20,
25-26
epic genre, 34-35» 39-40, 42
Essential Expositional Closure (EEC): Arcadia
and, 85; atemporal digression/rupture and,
135; attenuated EEC, 138-139, 143, 153014; ca-
dential events and, 8om6, 82, 119, 136, 142-
145, 144; Classical sonata structure and, 39,
125, 126; false EEC, 159; harmonic movement
and, 102; historical context and, 148; narra-
tive trajectory and, 137-140; reimagined EEC,
160; as S-theme closure, 112, 113-114. See also
recapitulation
Essential Structural Closure (ESC), 39, 135, 140,
148,173-174. See also recapitulation
Fenaroli, Fedele, 170,171
Forte, Allen, 15
Foucault, Michel, 20
fragmentation: in the arabesque, 29; in develop-
ment sections, 155-158; enclosing gestures and,
63; fragmented recapitulation, 162-165; of nar-
rative themes, 59,70,91; pedal point projection
of, 112; pedal tones as projected fragments, 112;
Romantic fragment aesthetic and, 12, 26-29,
28-29,135-141; in Romantic vs. Classical sona-
tas, 27-28,44,70; S-themes and fragmentation,
135-140,140-143» 144-146» 144,177
Frye, Northrop, 22, 24-25
gateway passages: Arcadia topic and, 77-78; in de-
velopment sections, 156; externalanachrony and,
its; framing of interpolations by, 77,102-103,103,
Index | 201
107,118-119» 160; narrative agency in, 92-93» 96,
99» 99-100, 110-uiy 112-113; S-openings as, 87;
tonal disengagement as, 105-106,106-107
gender, 134,152ml, 1531121
Genette, Gérard; on anisochrony, 37» 4°» 58-59»
72; categories of anachronies, 35-39» H4 119;
on first narrative temporality, 43-44; on mood
(mode), 53-54» 65» 67, 73; on narratology, 13-141
on normative narrative chronology, 44; on the
pause, 64,108,155; on the summary (sommaire),
76; on voice (voix), 52-53; zero reference point,
37» 58, 61
genre, 35
German Romanticism, definitions of, 27-28
Gesangsthema: Classical origins of, 133; as com-
mon Romantic S-type, 82-83, 83; normative
functionality of, 127-128, 130-131, 135-137»
141; proposal register of, 160; in P-theme/S-
theme contrasts, 177; suppression/mocking of,
144-146
Gifford, Terry, 22
Goethe, Johann Wolfgang von, 27
Hatten, Robert, 30-31013, 41-42,116,120ml, 133
Haydn, Joseph, 6
Hepokoski, James, 12, 38-39, 46025, 62, 8oni6,
134,169-170. See also Sonata Theory
heteroglossia, 42
Hoffman, E. T. A., 41
Homer, 36-37
Hume, David, 23
Iliad, 36-37
implied author, the, 20-21, 30010, 59, 79ni4, 147,
149-150
interpolation: atemporal interpolation, 63-64,
96, 103,113-114,155-156; gateway entrances/ex-
its, 77,103, 107, 118-119, 160; interpolated ana-
lepsis, 112-113; interpolated interjections, 102;
interpolated pauses, 108; overview, 40; paren-
thetical enclosures, 41, 63, 80019» 96, 107-108;
post-MC interpolation, 125, 127-131, 139, 141;
pre-MC interpolation, 125
Iser, Wolfgang, 46n25
isochronous (isochrone) narrative, 60
Jean Paul (Johann Paul Friedrich Richter), 41
Jena School Romanticism, 27—28
Keats, John, 27
Kinderman, William, 41, 63
Klein, Michael, 30-30113,133,135,152ml
Kramer, Lawrence, i53n2i
Kretzschmer, August, 51, 53, 78nni, 2
landscape painting, Romantic, 21, 28, 30ns,
33n46,133» 157
Liszt, Franz, 11,12,161
Lovejoy, Arthur, 23
lyric genre, 34-35* 46n22,133
Mahler, Gustav, 12,135» 161,170,178
markedness, 40-42, 46n25
Marx, Adolph Bernhard, 134
McGann, Jerome, 3in2o
medial caesura (MC): ambiguous transitions
and, 4,6,11, 86-91» 88,93-95» 97» 9», 99-101, «4»
117; cadential events and, 3» 11» 102-103, 108-
109; narrative motivation in, 125; normative
functionality of, 39» 109» 125; post-MC interpo-
lation, 125, 127-131,139» 141; pre-MC interpola-
tion, 125,166
Mendelssohn, Fanny, 12
Mendelssohn, Felix, 12,170
Metz, Christian, 45ns, 47n32
minus functions (Iser), 46n25
Mozart, Wolfgang Amadeus: atemporality in, 62;
cadential events in, 148; narrative conflict in,
1785 Schumann references to, 82; sonata devel-
opment by, 6
narrative: arabesque as strategy in, 29; biographi-
cal correlations in, 146; chronotopes, 42-43,
108; cinematic narrative, 47^2, 79ni3; diegetic
agency in, 127,130; disruption of narrative flow,
26-27, 53, 57-58, 98-99» 99-101; emplotment,
14, 45ns, 146; fragmented development sec-
tions and, 155-158; implied author, the, 20-21,
3onio, 59» 79ni4» 147* 149-150; implied proto-
types, 72; implied readers/listeners/audiences,
60, 79ni4, 91, 149-151; interiority of the narra-
tor, 61, 64-65, 73-74; interjections, 73; isochro-
nous (isochrone) narrative, 60; literary pause,
64, 74, 108; longing as motivation in, 22, 66,
86-91, 112-113, 118-119, i2om6, 157-158; lyric
agency, 40-42» 53» 55-56, 130, 145; lyric com-
pared with, 34-35, 46n22; modality of narrative
representation, 53; mood (mode), 53-54, 65, 67,
73; musical-narrative agents, 39; narrative dis-
course, 14; narrative voice in, 39-41; per aspera
ad astra plot archetype, 133; quest narratives,
25; Romantic musical narratives, 13-15, 20-21,
177-178; sentence replication and, 72, 8in3i, 98,
113; structural narratology, 13, 35-38; summary
(sommaire) in, 76; temporal structure in, 35-38;
tragic-to-triumphant expressive genre, 30-
3ini3,132-133; zero reference point in, 37, 58,61
Neapolitan harmony, 3, 57, 6o-6i, 65, 72, 74» 144»
146
202 I Index
Newcomb, Anthony, 41
nocturnes, 3-4, 95,152ml
Novalis (George Philipp Friedrich Freiherr von
Hardenberg), 27-28, 41
novel: Bakhtin on, 42; Brahms op. l/ii as, 58-59; as
multidimensional work, 13; novelistic S-space,
152-153013; pastoralism in, 21; Roman struc-
tural tendencies, 26-27, 34, 41
opera, narrative voices in, 41
parabasis, 26-27
pastoralism: Arcadia topic in, 21-22, 30-31013,
65, 77-78» 135-142; Clara Schumann account
and, 146-147; interior themes and, 135, 152ml;
partimento tradition and, 170, 171; Romantic
pastoral narrative type, 21-22, 77-78, 133-135;
S-space relationship with, 130-135; in untexted
music, 82
pedal tones, i, 3, 71, 73, 75,112,143
Picasso, Pablo, 150-151
Plato, 34
primary themes (P-themes): Brahmsian P-
themes, 4; developmental P-themes, 4, 155-
156; fragmented recapitulation in, 162-165;
P-theme/S-theme binary opposition, 133-135,
177-178; Schumann sentence format, 6; in So-
nata Theory, 39; as transition substitute, 3-4;
transitions from, 1
Prokofiev, Sergei, 178
Rabinowitz, Peter J., 149-151
Rachmaninoff, Sergei, 12,178
Ravel, Maurice, 178
recapitulation: atemporal digression/rupture in,
139-140, 145; correspondence measures and,
1531120; ESC role in, 39; fragmented recapitula-
tion, 162-165; narrative trajectory and, 147,151;
recapitulatory S-themes, 128, 132, 139, 172-175;
subdominant recapitulations, 158, 162, 166-
i67n6. See also Essential Expositional Closure;
Essential Structural Closure
rhetoric: diegesis-mimesis distinction, 34, 42,
79m3 136,143,156,161,168-169; rhetorical ges-
tures, 40-42, 46025; rhetorical narrative theo-
ry, 13-15, i5ni2; in Sonata Theory, 39-40; tonal/
motivic dissolution, 1
Ricoeur, Paul, 45ns
Riemann, Hugo, 11
Romantic aesthetics: atemporality, 38, 44, 61-66,
62, 119; biographical correlations in, 146-148;
Brahmsian lyrical S and, 4; Brahms’s early
piano sonatas and, 123; cadential events in,
148; Classical literary influence in, 19, 22-28;
development sections, 155, 160-161; discursive
shifts in, 91, 95-96; disruption of narrative
flow, 26-27, 53, 57-58, 98-99» 99-101; as epis-
temic system, 20; essential expressive opposi-
tion of, 177-178; fragments in, 12, 26-29, 28-29,
135-141; Gesangsthema as normative in, 144;
major/minor binary opposition, 132-135; nar-
rative motivation/longing in, 22, 66, 86-91,
112-113, 118-119, i2oni6, 157-158; organicism/
unity expectations, 6; pastoralism and, 21-22,
77-78, 133-135; piano sonata influences in, 12;
post-MC interpolation and, 125, 127-131, 139,
141; Roman (novel) relationship with, 26-27,
34, 58-59; Romantic musical narrative, 13-15;
spatiality as component in, 24-26; staged con-
flict in, 77
Rosen, Charles, i2oni2
Rothstein, William, 72
Rousseau, Jean-Jacques, 23
Sanguinetti, Giorgio, 172,173
Schlegel, August Wilhelm, 25, 27-28
Schlegel, Friedrich: on arabesque, 29; on Classi-
cal form, 19; Classical fragments in, 27-28; on
Classical spatiality, 29m; disruption of narra-
tive flow, 26-27» on the Roman (novel), 34» 41»
42; Romantic aesthetic environment and, 12;
spatiality in, 25-26
Schmalfeldt, Janet, 85, 86
Schubert, Franz, 54
Schumann, Clara, 146-147, i53n2i
Schumann, Robert: on Classical form, 19; influ-
ence on Brahms, 123, 147; narrative strategies
in, 41; progressive vs. normative style, 11; sen-
tence chain (Satzkette) gesture of, 81031, 113;
sentence P-theme format, 6
Piano Sonata in F# minor, op. 11, 6-11, 7-101 ca-
dence effects, 83-85, 86; conflated atemporal-
ity in, 108-113,110-112; disruption of narrative
flow, 98-99,98-103,99-101, 138; dissolving TR-
type, 96-98, 99-101, 113, 126; durational atem-
porality in, 82, 112-114; pre-MC interpolation
in, 125; recapitulation in, 166; ruptured atem-
porality in, 112-113,118
Piano Sonata in G minor, op. 22՝. recapitulation
in, 166
secondary themes (S-themes): biographical cor-
relations in, 146-148; Brahms hypothetical S-
theme proposals, 117,126,129,137, 147, 157-162,
160; in Chopin nocturnes, 3, 11; Gesangsthema
type of, 82-83, 83,127-128,130-131,133, 135-136,
160,177; lyrical S-theme, 3, 4, n, 34-35» 82, 109,
Index j 203
152118; MC relationship with, 86-87; narrative
motivation in, 86-91, 125, 151—152; normative
Romantic S-themes, 11, 133-135; novelistic S-
space, 152-153013; P-theme/S-theme binary,
133-135» 177-178; Romantic fragmentation in,
135-1411 in Sonata Theory, 39,132
slow introductions, 96,146
Smith, Peter, 114-116,133,135
Sonata Theory: as analytical tool, 12-13; atempo-
ral narrative structure and, 38-39; cadence ef-
fects, 83-85,148,151-152; cadence failure in, 66,
8on23; compound basic ideas, 84; correspon-
dence measures, 145,153020; deformation the-
ory, 46n25, 148-151; dissolving TR-type, 91, 98,
99-102; Essential Expositional Closure (EEC),
39, 8om6, 82, 85» 102, 113-114» 135» 137-140, 145;
Essential Structural Closure (ESC), 39, 135,
140; expanded cadential progressions (ECP),
66, 8on22; narrative voicing and, 39-41; nor-
mativity in, 46n25; “one more time” technique
(OMT), 85, 86; rhetoric and, 39-40; S-space
considerations, 132-233
sonatas: atemporal narrative structure in, 38-
39; Chopin struggles with, 3-4, n; counter-
melodies as indexical signifiers, 54-55, 79219;
medial caesura structural role, 125; as mul-
tidimensional works, 13; normative Classi-
cal temporality, 44; pastoralisin and, 133-135;
road chronotope and, 43-44, 108; as Romantic
genre, 12, 24,177-178
spatiality: chronotopes, 42-43,108; interiority of
the narrator, 61,64-65, 73-74; pastoral interior
themes, 135, 152ml; Romantic interiority, 20,
24-27, 59; Schlegel on Classical spatiality, 25,
27, 29m; spatial projection, 24,106-107,118
Strauss, Richard, 12,178
style hongrois folk dance, 144—145, i53ni8
symphonic poems, 169-170
symphonies, 19,169-170
Tchaikovsky, Pyotr Ilyich, 12,134,170,178
temporality: achronies, 37, 64; anachronies, 37,
64,113-114,115; analepsis (flashback), 36-37,64,
791113, 96,112-114.119» 131; anisochronies, 37,40,
58-61, 72, 107; Classical atemporality, 62; con-
flated atemporaiity, 103-108, 105-106, 108-113,
2J0-J12,143; durational atemporality, 58-66,58,
62, 70-76, 85-86, 103-104, 112-114, 118, 135-137;
first narrative temporality, 43-44; isochronous
(isochrone) narrative, 60; multiple temporal
streams, 14, 44, 75, 93» 98-99» 113-115; in nar-
rative structure, 35“38,38-41» 57-58; normative
structure of, 40-41; prolepsis (flash-forward),
37, 40, 64, 77, 96, 130-131; resetting-the-clock
gestures, 61, 74, 76, 8oni6, 85,107-108,109,129;
ruptured atemporality, 64, 73-74» 76-77» 91-92»
92-93» 103-104, 112, 112-113, 118, 127, 136-140,
160; temporal disruptions, 42; temporal dual-
ity in narrative, 45n8; time vs. temporality, 36,
45nio, 59. See also interpolation
texts, 42
Tieck, Ludwig, 27-28
Todorov, Tzvetan, 13
Toggenburg, Kraft von, 67
Tolstoy, Leo, 150-151
tragedy, 30-3ini3
transitions (TR): ambiguity in Brahms, 4; chro-
matic disturbances and, 91-96, 92-93, i2onn;
chromatic transitions, 1; dissolving TR-type,
6-7; dissolving-consequent TR-type, 129;
dissolving-continuation TR-type, 157, 159;
dissolving-restatement TR-type, 125-126; re-
capitulatory telescoped TR, 162-165; in Sonata
Theory, 39» i2on8
untexted Romantic music: atemporality and, 63-
64, 66, 86; discursive shifts marked by, 85, 91,
95-96; narrative rhythm and, 71; slow move-
ments in Brahms as analogous, 82; texted/un-
texted opposition, 70
Virgil, 3o-3ini3
voice, narrative: in Brahms op. l/ii, 52-53» 55“56,
58—61; in Brahms op. $/vy 106-107; diegetic sub-
jective agency in, 127, 130; external narrating
agents, 58-61; as narrative/sonata component,
39-41
Wackenroder, Wilhelm Heinrich, 27-28
Wagner, Richard, 134
Weber, Carl Maria von, 134
Wellek, René, 23
Wilhelm, August, 23
Wordsworth, William, 19, 20, 23-24, 25
Zuccalmaglio, Anton Wilhelm, 51, 53, 78nni, 2
|
| any_adam_object | 1 |
| author | Davis, Andrew C. 1973- |
| author_GND | (DE-588)1078715408 |
| author_facet | Davis, Andrew C. 1973- |
| author_role | aut |
| author_sort | Davis, Andrew C. 1973- |
| author_variant | a c d ac acd |
| building | Verbundindex |
| bvnumber | BV044556127 |
| classification_rvk | LR 54495 |
| contents | Introduction: romantic musical discourse, or, a rhetoric of romantic music -- Fragmentation and atemporality -- Fragmentation: aesthetics of nineteenth-century romanticism -- Atemporality in narrative and music -- Structural and rhetorical strategies in music with and without text -- Music with text: two slow movements by Brahms -- Music without text: forms of atemporality -- Brahms's piano sonatas -- Treatment of the medial caesura -- Treatment of the s-space -- Treatment of the development and recapitulation -- Treatment of the slow introduction and coda |
| ctrlnum | (OCoLC)1012850626 (DE-599)BVBBV044556127 |
| discipline | Musikwissenschaft |
| era | Geschichte 1800-1900 |
| era_facet | Geschichte 1800-1900 |
| format | Book |
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| id | DE-604.BV044556127 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:55:48Z |
| institution | BVB |
| isbn | 9780253025333 0253025338 9780253028938 0253028930 0253025451 9780253025456 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029954863 |
| oclc_num | 1012850626 |
| open_access_boolean | |
| owner | DE-12 DE-11 DE-355 DE-BY-UBR |
| owner_facet | DE-12 DE-11 DE-355 DE-BY-UBR |
| physical | IX, 203 Seiten Notenbeispiele |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | Indiana University Press |
| record_format | marc |
| series2 | Musical meaning and interpretation |
| spelling | Davis, Andrew C. 1973- Verfasser (DE-588)1078715408 aut Sonata fragments romantic narratives in Chopin, Schumann, and Brahms Andrew Davis Bloomington, Indiana Indiana University Press [2017] © 2017 IX, 203 Seiten Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Musical meaning and interpretation Introduction: romantic musical discourse, or, a rhetoric of romantic music -- Fragmentation and atemporality -- Fragmentation: aesthetics of nineteenth-century romanticism -- Atemporality in narrative and music -- Structural and rhetorical strategies in music with and without text -- Music with text: two slow movements by Brahms -- Music without text: forms of atemporality -- Brahms's piano sonatas -- Treatment of the medial caesura -- Treatment of the s-space -- Treatment of the development and recapitulation -- Treatment of the slow introduction and coda Schumann, Robert 1810-1856 (DE-588)118611666 gnd rswk-swf Brahms, Johannes 1833-1897 (DE-588)118514253 gnd rswk-swf Chopin, Frédéric 1810-1849 (DE-588)118520539 gnd rswk-swf Geschichte 1800-1900 Diskursivität (DE-588)4245399-9 gnd rswk-swf Klaviersonate (DE-588)4030995-2 gnd rswk-swf Musikalische Analyse (DE-588)4040814-0 gnd rswk-swf Das Romantische (DE-588)4201485-2 gnd rswk-swf Klavierlied (DE-588)4164066-4 gnd rswk-swf Rhetorik (DE-588)4076704-8 gnd rswk-swf Chopin, Frédéric / 1810-1849 / Criticism and interpretation Schumann, Robert / 1810-1856 / Criticism and interpretation Brahms, Johannes / 1833-1897 / Criticism and interpretation Brahms, Johannes / 1833-1897 Chopin, Frédéric / 1810-1849 Schumann, Robert / 1810-1856 Sonata / 19th century Sonata 1800-1899 Criticism, interpretation, etc Chopin, Frédéric 1810-1849 (DE-588)118520539 p Schumann, Robert 1810-1856 (DE-588)118611666 p Brahms, Johannes 1833-1897 (DE-588)118514253 p Klaviersonate (DE-588)4030995-2 s Klavierlied (DE-588)4164066-4 s Das Romantische (DE-588)4201485-2 s Rhetorik (DE-588)4076704-8 s Diskursivität (DE-588)4245399-9 s Musikalische Analyse (DE-588)4040814-0 s DE-604 Online version Davis, Andrew C., 1973- Sonata fragments Bloomington : Indiana University Press, 2017 9780253025456 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029954863&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029954863&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029954863&sequence=000003&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Gemischte Register |
| spellingShingle | Davis, Andrew C. 1973- Sonata fragments romantic narratives in Chopin, Schumann, and Brahms Introduction: romantic musical discourse, or, a rhetoric of romantic music -- Fragmentation and atemporality -- Fragmentation: aesthetics of nineteenth-century romanticism -- Atemporality in narrative and music -- Structural and rhetorical strategies in music with and without text -- Music with text: two slow movements by Brahms -- Music without text: forms of atemporality -- Brahms's piano sonatas -- Treatment of the medial caesura -- Treatment of the s-space -- Treatment of the development and recapitulation -- Treatment of the slow introduction and coda Schumann, Robert 1810-1856 (DE-588)118611666 gnd Brahms, Johannes 1833-1897 (DE-588)118514253 gnd Chopin, Frédéric 1810-1849 (DE-588)118520539 gnd Diskursivität (DE-588)4245399-9 gnd Klaviersonate (DE-588)4030995-2 gnd Musikalische Analyse (DE-588)4040814-0 gnd Das Romantische (DE-588)4201485-2 gnd Klavierlied (DE-588)4164066-4 gnd Rhetorik (DE-588)4076704-8 gnd |
| subject_GND | (DE-588)118611666 (DE-588)118514253 (DE-588)118520539 (DE-588)4245399-9 (DE-588)4030995-2 (DE-588)4040814-0 (DE-588)4201485-2 (DE-588)4164066-4 (DE-588)4076704-8 |
| title | Sonata fragments romantic narratives in Chopin, Schumann, and Brahms |
| title_auth | Sonata fragments romantic narratives in Chopin, Schumann, and Brahms |
| title_exact_search | Sonata fragments romantic narratives in Chopin, Schumann, and Brahms |
| title_full | Sonata fragments romantic narratives in Chopin, Schumann, and Brahms Andrew Davis |
| title_fullStr | Sonata fragments romantic narratives in Chopin, Schumann, and Brahms Andrew Davis |
| title_full_unstemmed | Sonata fragments romantic narratives in Chopin, Schumann, and Brahms Andrew Davis |
| title_short | Sonata fragments |
| title_sort | sonata fragments romantic narratives in chopin schumann and brahms |
| title_sub | romantic narratives in Chopin, Schumann, and Brahms |
| topic | Schumann, Robert 1810-1856 (DE-588)118611666 gnd Brahms, Johannes 1833-1897 (DE-588)118514253 gnd Chopin, Frédéric 1810-1849 (DE-588)118520539 gnd Diskursivität (DE-588)4245399-9 gnd Klaviersonate (DE-588)4030995-2 gnd Musikalische Analyse (DE-588)4040814-0 gnd Das Romantische (DE-588)4201485-2 gnd Klavierlied (DE-588)4164066-4 gnd Rhetorik (DE-588)4076704-8 gnd |
| topic_facet | Schumann, Robert 1810-1856 Brahms, Johannes 1833-1897 Chopin, Frédéric 1810-1849 Diskursivität Klaviersonate Musikalische Analyse Das Romantische Klavierlied Rhetorik |
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