Metrical dissonance in Brahms's second piano trio, opus 87 in C major

M Music and Books on Music > M Music

Bosworth, William Thomas ; Riley, Matthew

University:University of Birmingham

Department:School of Languages, Cultures, Art History and Music, Department of Music

关键词: M Music and Books on Music;    M Music;   

Others  :  http://etheses.bham.ac.uk//id/eprint/4086/2/Bosworth13MMus.pdf

来源: University of Birmingham eTheses Repository

【 摘 要 】

One of the fastest-growing areas in recent analytical musicology is concerned with rhythm and metre, particularly the exploration of the analogy of dissonance and consonance with the pitch domain. Brahms’s oeuvre forms a core part of this research. His works are pervaded by metrical dissonance, including displacement as well as hemiola-type devices. The latter often remain unclassified in description; their various apparitions can include double hemiola, reverse hemiola and displaced hemiola, along with different classes of hemiola. As chamber music from Brahms’s high maturity, the Piano Trio in C major, Opus 87, is a paradigmatic site for rhythmic-metric interest. Metrical dissonances repeatedly participate in formal articulation and often become motivic. They are also one facet of inter-movement links which in this work help create a global trajectory of delayed resolution. Various elements suggest the possibility of a multi-dimensional complementary pairing with the Op. 88 String Quintet in F.