Also Includes Two Brief Discussions of
"Intermezzo in A Major, Op. 118, No. 2" &
"Rhapsodie in E-flat Major, Op. 119, No. 4"
Author: Payman Akhlaghi (2000, UCLA)
Graduate Academic Paper Toward Degree of PhD in Composition (27 Pages, English)
Supervising Professor: Robert Winter (Music 261E)
(*) Please note that this essay was formatted at the time as a basic HTML text for maximum accuracy on an older online database sharing system. Thank you. (Author)
Excerpt:
"[...] Section Three: The Extra-musical Origins of Asymmetry in the Music of Brahms
Especially the Intermezzo affords us with the opportunity to ask if one can account for the origins of such irregularities not merely on purely musical grounds.
There are many reasons for such reflections. At any given period, each artistic field might resist changes in some of its parameters, while promoting progress and variety in the others. Music of the first half of the nineteenth century, for example, was relatively explorative in terms of its harmonic language, some aspects of its formal aspirations, and its timbral ambitions. Nevertheless, it had developed a resistance toward a change in its underlying binary design, which manifested itself in the widespread acceptance of the Sonata form (ABA in essence) and the generally even number of phrase elements. Even the meter too had stayed frozen in either 2 or 3 meters, with extremely rare exceptions.. [...]" Please read, download or print the article Here.
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