Dissertation - World Federation of Music Therapy

ought to a comforting and affirmative close (with a surprising piano F minor chord
(bar 113) as a last shadow of the drama from the second main section of the
movement.
Conclusions concerning image potentials of the movement – are:
• The movement is in ternary form – A B A’ – yet the predictability of the outline is
’blurred’ (in a very typical Brahmsian way) by the many unpredictable variations
especially of the B section.
• The major shifts with potentials for image transformation or changes are at 2:15
The violin entry, section B; 3:52 The mood and key shift to a more dramatic and
tragic episode; 6:11 The return to the secure base, harmonically and melodically,
with the two solo instruments in harmony, integrating diatonic and chromatic
elements.
• The movement is basically supportive and lyrical-pastoral in character, but the B
section brings some challenges for the listener in the form of tonal/harmonic
drama, dynamic tension and melodic longing.
The musical perspectives is summarized in an “‘Intensity Profile“ – inspired by
Bonny’s “‘Affective Contour/Profiles“:
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