Gillian Robertson AMS/SMT Annual Meeting (Milwaukee, WI) Nov. 6–9, 2014 1 Seth Monahan, “Action and Agency Revisited,” Journal of Music Theory 57, no. 2 (Fall 2013): 329. 2 Heinrich Schenker, Free Composition (Der freie Satz), vol. 3, bk. 2 of New Musical Theories and Fantasies, ed. and trans. Ernst Oster (Hillsdale, NY: Pendragon Press, 1977), ex. 40/9. Brahms’s Emergent Identity: A Narrative Interpretation of Variations on a Theme by Paganini, Op. 35, Book I • Fictional Composer: “the person postulated by the analyst as the controlling, intending author of the musical text.” 1 • Narrative conflict arises between two fictional composers: “Paganini” (order) and “Brahms” (transgression). Example 1: Paganini, Violin Caprice in A minor, Op. 1, No. 24 and Schenker’s Sketch of Paganini’s Caprice Theme (Der freie Satz, Figure 40/9). 2 Selected Bibliography Agawu, Kofi. Music as Discourse: Semiotic Adventures in Romantic Music. Oxford: Oxford University Press, 2009. Almén, Byron. A Theory of Musical Narrative. Bloomington: Indiana University Press, 2008. Burkholder, J. Peter. “The Uses of Existing Music: Musical Borrowing as a Field.” Notes, Second Series, 50, no. 3 (Mar., 1994): 851– 70. Cummings, Craig Campney. “Large-Scale Coherence in Selected Nineteenth-Century Piano Variations.” PhD diss., Indiana University, 1991. Dickensheets, Janice. “The Topical Vocabulary of the Nineteenth Century.” Journal of Musicological Research 31, nos. 2–3 (April, 2012): 97–137. Hatten, Robert. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Bloomington: Indiana University Press, 1994. Kross, Siegfried. “Brahms and E. T. A. Hoffmann.” 19th-Century Music 5, no. 3 (Spring, 1982): 193–200. Marston, Nicholas. “Analysing Variations: The Finale of Beethoven’s String Quartet Op. 74.” Music Analysis 8, no. 3 (October, 1989): 303–24. Monahan, Seth. “Action and Agency Revisited.” Journal of Music Theory 57, no. 2 (Fall 2013): 321–71. Nelson, Robert U. The Technique of Variation: A Study of the Instrumental Variation from Antonio de Cabezón to Max Reger. Los Angeles: University of California Press, 1948. Schenker, Heinrich. “Brahms’s Variations and Fugue on a Theme by Handel, Op. 24.” In Der Tonwille—Pamphlets/Quarterly Publication in Witness of the Immutable Laws of Music, Offered to a New Generation of Youth. Vol. 2, Issues 6–10 (1923–1924), edited by William Drabkin and translated by William Renwick, 77–114. Oxford: Oxford University Press, 2005. ________. Free Composition (Der freie Satz), Vol. 3, Bk. 2 of New Musical Theories and Fantasies. Edited and translated by Ernst Oster. Hillsdale, NY: Pendragon Press, 1977. Sisman, Elaine R. “Brahms and the Variation Canon.” 19th-Century Music 14, no. 2 (Autumn, 1990): 132–53..