Year: 2017
Type: article
Abstract: This article argues that the concealment of the structural melody in an inner voice imbues Brahms’s piano pieces with that inward quality long associated with the composer’s pianism. It examines three different types of structural inner melodies, proceeding from that in which the sense of interiority is most concrete to that in which it is most abstract, and culminating with an extensive analysis of Brahms’s Intermezzo in A minor, op. 76, no. 7. The article concludes that when the melody fades within, we are ultimately the ones who turn inward and lose ourselves to the music in a moment of quiet transcendence.
Source: Music Theory Online
DOI: 10.30535/mto.23.1.2
Author: Diego Cubero
Institution: University of North Texas
Language: English
Subfield: Music
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: diamond
OpenAlex ID: W2604359595