Brahms studies : analytical and historical perspectives : papers delivered at the International Brahms Conference, Washington, DC, 5-8 May 1983 /

Keynote address: Karl Geiringer: Brahms the ambivalent Brahms and Musical Tradition: Christoph Wolff: Brahms, Wagner, and the problem of historicism in nineteenth-century music David Lewin: Brahms, his past, and modes of music theory Virginia Hancock: Brahms and early music: Evidence from his library and his choral compositions James Webster: The general and the particular in Brahms's later sonata forms: Uniform proportions and unique retransitions Elaine R. Sisman: Brahms's slow movements: Reinventing the 'closed' forms Charles Rosen: Brahms the subversive Brahms the Progressive: Michael Musgrave: Schoenberg's Brahms Walter Frisch: The shifting bar line: Metrical displacement in Brahms Edward T. Cone: Harmonic congruence in Brahms Performance Practice: David Epstein: Brahms and the mechanisms of motion: The composition of performance Brahms as Editor: David Brodbeck: Brahms's edition of twenty Schubert Landler: An essay in criticism Linda Correll Roesner Robert Pascall: The publication of Brahms's Third Symphony: A crisis in dissemination Margit L. McCorkle: The role of trial performances for Brahms's orchestral and large choral works: Sources and circumstances Brahms as Song Composer: Ludwig Finscher: Brahms's early songs: Poetry versus music George S. Bozarth: Brahms's Leider ohne Worte: The 'Poetic' Andantes of the piano sonatas Imogen Fellinger: Cyclic tendencies in Brahms's song collections Brahms's Symphonic Music: Claudio Spies: 'Form' and the tragic overture: An adjuration John Rahm: D-Light reflecting: The nature of comparison Robert Bailey: Musical language and structure in the Third Symphony Siegfried Kross: Thematic structure and formal processes in Brahms's sonata movements