This dissertation proposes that Brahms's tempos cannot be satisfactorily translated to metronome numbers because his concept of tempo, as evidence suggests, may have been inextricably linked to character, a quality conveyed collectively by musical components such as rhythmic activity, harmonic progression, phrase structure, and articulation, among others. This, in fact, is similar to an eighteenth-century, character-based approach to musical motion that Brahms may have known well from his rigorous study of compositions and writings from that period. Manuscripts, printed scores, and correspondence are examined to show that Brahms's carefully marked verbal tempo markings pertain more to character than to speed (i.e., the rate of tactus), and that his Allegro and Allegro non troppo compositions, which may be described respectively as qprogressiveq and qhesitantq in character, resonate with the widespread nineteenth-century sensibilities of progress and melancholy, both related in significant ways to the notion of linear time that began to gain ground around the mid-eighteenth century. The dissertation concludes with the idea that informed decisions with regard to tempo in Brahms's music would involve knowledge of historical styles in addition to good taste and experience.... 4: Allegro and Allegro non troppo, Part II The present chapter, continuing the discussion in Chapter 3, views music as a ... For example, Peter Burkholder posits that composers of the Second Viennese School were affected by the 96 Allegroanbsp;...
|Title||:||Lost in Time: The Concept of Tempo and Character in the Music of Brahms|
|Author||:||Sean Yung-hsiang Wang|
|Publisher||:||ProQuest - 2008|