Brahms's Ein deutsches Requiem: dialectic and the chromatic middleground

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.

Name thesis:degree_name

Doctor of Philosophy (PhD)

Level thesis:degree_level

Dissertation

Discipline thesis:degree_discipline

Music

Grantor

Music

Year dc:date.available

2007

Author dc:creator

• Tuck, Patrick

• dialectic
• chromaticism
• middleground
• mixture
• ein deutsches requiem
• Brahms

Statement dc:rights

• unrestricted
• Release the entire work immediately for access worldwide.

Identifier

etd-04092007-102150
https://repository.lsu.edu/gradschool_dissertations/1501

OAI identifier oai:identifier

oai:repository.lsu.edu:gradschool_dissertations-2500