Brahms and the Principle of Destabilised Beginnings
Identifieur interne : 000D47 ( Main/Exploration ); précédent : 000D46; suivant : 000D48Brahms and the Principle of Destabilised Beginnings
Auteurs : Ryan Mcclelland [Canada]Source :
- Music Analysis [ 0262-5245 ] ; 2009-03.
Abstract
Despite the considerable research on moment‐to‐moment motivic development in Brahms's instrumental music, surprisingly few studies emphasise global thematic processes which involve transformations of initially destabilised thematic material. After placing Brahms's destabilised beginnings in the context of earlier nineteenth‐century works, the article explores several pieces with destabilised beginnings in order to demonstrate Brahms's range of techniques for tonal and rhythmic‐metric destabilisation, strategies used to maintain destabilisation at preliminary thematic returns and the relationships between destabilised beginnings and their eventual stabilised form. Tonal destabilisation subsumes several related and somewhat overlapping techniques, and the article pursues six which have particular relevance in Brahms's music: (1) stylistically marked chromaticism, (2) unusual dissonance treatment, (3) denial of harmonic or melodic cadence, (4) minimally stable diatonic harmonisation, (5) disjuncture between harmonic function and sonority type and (6) ambiguous establishment of key. The briefer consideration of rhythmic‐metric destabilisation studies dissonance (1) at the level of metre and (2) at some level of hypermetre. The concluding section addresses stylistic and genre‐specific constraints on destabilised beginnings as well as the implications of destabilised beginnings for the analysis of musical form, especially the distinction between rondo and modified sonata designs.
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DOI: 10.1111/j.1468-2249.2010.00286.x
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