{"id":{"repo_id":"lsu-thes","oai_identifier":"oai:repository.lsu.edu:gradschool_dissertations-2500"},"canonical_url":"https://search.dev.ndltd.org/etd/lsu-thes/oai:repository.lsu.edu:gradschool_dissertations-2500","repository":{"repo_id":"lsu-thes","name":"Lousiana State University","base_url":"https://repository.lsu.edu/do/oai/"},"display":{"title":"Brahms's Ein deutsches Requiem: dialectic and the chromatic middleground","abstract":"Brahms’s Ein deutsches Requiem (1868) has been the focus of much scholarly research. The present study focuses specifically on the work’s dialectic: the presentation and resolution of a conflict between mortal suffering and eternal joy. It takes an Schenkerian approach to the tonal content of the piece, which provides a musical reflection of the human spiritual journey to the afterlife. It examines how Brahms brings his chosen texts to life with the aid of musical processes such as mixture, register transfer, coupling, covering lines, and contrasting textures. The present study will cite previous authors who have noted the opposing forces in the Requiem’s construction. To the wealth of theoretical and historical writing about Brahms's Requiem the present study will contribute an Schenkerian account of musical processes that are integral parts of the work's philosophical dialectic.","abstract_html":"Brahms’s Ein deutsches Requiem (1868) has been the focus of much scholarly research. The present study focuses specifically on the work’s dialectic: the presentation and resolution of a conflict between mortal suffering and eternal joy. It takes an Schenkerian approach to the tonal content of the piece, which provides a musical reflection of the human spiritual journey to the afterlife. It examines how Brahms brings his chosen texts to life with the aid of musical processes such as mixture, register transfer, coupling, covering lines, and contrasting textures. The present study will cite previous authors who have noted the opposing forces in the Requiem’s construction. To the wealth of theoretical and historical writing about Brahms's Requiem the present study will contribute an Schenkerian account of musical processes that are integral parts of the work's philosophical dialectic.","abstract_has_math":false,"creators":["Tuck, Patrick"],"institution":"Music","degree_name":"Doctor of Philosophy (PhD)","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2007,"date_issued":"2007-01-01T08:00:00Z","date_published":"2007-01-01T08:00:00Z","updated_at":"2026-07-24T02:59:31Z","subjects":["dialectic","chromaticism","middleground","mixture","ein deutsches requiem","Brahms"],"languages":[],"rights":["unrestricted","Release the entire work immediately for access worldwide."],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["etd-04092007-102150","https://repository.lsu.edu/gradschool_dissertations/1501"],"render_values":[{"text":"etd-04092007-102150","href":null,"code":true},{"text":"https://repository.lsu.edu/gradschool_dissertations/1501","href":"https://repository.lsu.edu/gradschool_dissertations/1501","code":true}]}]},"links":{"outbound_url":"https://doi.org/10.31390/gradschool_dissertations.1501","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Tuck, Patrick"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2007-02-27"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2022-05-12T23:12:20Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Doctor of Philosophy (PhD)"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["Music"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["dialectic","chromaticism","middleground","mixture","ein deutsches requiem","Brahms"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["unrestricted","Release the entire work immediately for access worldwide."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["etd-04092007-102150","10.31390/gradschool_dissertations.1501","https://repository.lsu.edu/gradschool_dissertations/1501"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Brahms’s Ein deutsches Requiem (1868) has been the focus of much scholarly research. The present study focuses specifically on the work’s dialectic: the presentation and resolution of a conflict between mortal suffering and eternal joy. It takes an Schenkerian approach to the tonal content of the piece, which provides a musical reflection of the human spiritual journey to the afterlife. It examines how Brahms brings his chosen texts to life with the aid of musical processes such as mixture, register transfer, coupling, covering lines, and contrasting textures. The present study will cite previous authors who have noted the opposing forces in the Requiem’s construction. To the wealth of theoretical and historical writing about Brahms's Requiem the present study will contribute an Schenkerian account of musical processes that are integral parts of the work's philosophical dialectic."]},{"key":"dc:title","label":"Title","values":["Brahms's Ein deutsches Requiem: dialectic and the chromatic middleground"]}]}],"canonical_facts":{"dc:creator":["Tuck, Patrick"],"dc:date":["2007-02-27"],"dc:date.available":["2022-05-12T23:12:20Z"],"dc:description.abstract":["Brahms’s Ein deutsches Requiem (1868) has been the focus of much scholarly research. The present study focuses specifically on the work’s dialectic: the presentation and resolution of a conflict between mortal suffering and eternal joy. It takes an Schenkerian approach to the tonal content of the piece, which provides a musical reflection of the human spiritual journey to the afterlife. It examines how Brahms brings his chosen texts to life with the aid of musical processes such as mixture, register transfer, coupling, covering lines, and contrasting textures. The present study will cite previous authors who have noted the opposing forces in the Requiem’s construction. To the wealth of theoretical and historical writing about Brahms's Requiem the present study will contribute an Schenkerian account of musical processes that are integral parts of the work's philosophical dialectic."],"dc:identifier":["etd-04092007-102150","10.31390/gradschool_dissertations.1501","https://repository.lsu.edu/gradschool_dissertations/1501"],"dc:rights":["unrestricted","Release the entire work immediately for access worldwide."],"dc:subject":["dialectic","chromaticism","middleground","mixture","ein deutsches requiem","Brahms"],"dc:title":["Brahms's Ein deutsches Requiem: dialectic and the chromatic middleground"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["Doctor of Philosophy (PhD)"],"thesis:institution_name":["Music"]},"updated_at":"2026-07-24T02:59:31Z"}