Abstract

There are only a handful of solo songs in which Brahms composed a setting that is not congruent with the poem's stanzaic structure. This article explores textual motivations for the non-strophic design of twelve songs, tracing the correlation of musical designs with such factors as the grammatical mood of the poem's verbs (indicative, imperative, subjunctive, realis/irrealis), changes in the persona's attention (digressions or interruptions in a train of thought, a shift of focus between inner and outer worlds), alternation between the lyric present and the persona's past or future experience, as well as changes in semantic focus (imagery, topic), discourse function (dialogue, quotation, requests and commands, descriptions and wishes), and narrative (characters, scenes, agency).

pdf

Additional Information

ISSN
1477-4631
Print ISSN
0027-4224
Pages
pp. 204-231
Launched on MUSE
2017-11-02
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.