Mazzola, Guerino / Noll, Thomas / Lluis-Puebla, Emilio: Perspectives in Mathematical and Computational Music Theory

Metric Investigations in Brahms’ Symphonies

Anja Volk

Technical University of Berlin

Research Group KIT-MaMuTh for Mathematical Music Theory $*$

avolk@imsc.usc.edu

$*$ Financed by the Volkswagen-Foundation in its »Young Research Groups at the Universities« programm.

Abstract

Rhythmic and metric ambiguities in Brahms’ compositions have been discussed in various music theoretical approaches. Which compositional techniques cause the diverse forms of ambiguities, such as metric displacement? The method of inner metric analysis, as implemented in the RUBATO-Software for Musical Analysis and Performance, explores the metric structure expressed by the onsets of notes without considering the information given by the time signature. The report on the application of this method to the Second and Third Symphonies demonstrates surprising insights into the metric organization of these compositions. Furthermore it illustrates the contribution to the precise description of metric peculiarities in the works of Brahms gained by the inner metric analysis.

1 Introduction

»... Brahms, who had to extend so many of these inclinations to their most complex reaches. In his recognition of ambiguity as a compositional value of extensive implications; ... and in his working of rhythms, both local and more extensive, to produce syncopes, metric displacements, and other avoidances of regularity ... .«¹

¹: Epstein (1987, p. 157)

The phenomenon of rhythmic and metric ambiguities observed in Brahms’ Œuvre has often been discussed in music theory. Schönberg (1976) describes the peculiarities by means of phrase lengths causing metrical displacements. According to him Brahms made use of irregular phrase lengths in such an extensive way, that under his influence the avoidance of regularity became a common element of the syntax and grammar of musical structures (»zum festen Bestandteil der Syntax und Grammatik vielleicht aller späteren musikalischen Strukturen geworden.«²

²: Schönberg (1976, p. 61)

). Schönberg even declares Brahms’ avoidance of regularity as epoch-making to such a degree, that he appreciates him as being a more inspiring innovator in music history than his antipodean Wagner. Frisch (1990) discusses metrical displacements as a fundamental characteristic of Brahms’ compositions as well, but does not agree