MOTIVIC UNITY AND INTEGRATION OF STRUCTURAL LEVELS IN BRAHMS'S B MINOR INTERMEZZO, OP. 119, NO. 1

Abstract

The concept of unity in one sense, implies that a common underlying thematic shape can unify the various sections and themes of a composition. This is an outgrowth of the holistic view that a tonal composition represents an organic process, that it grows from a singular musical aspect which is somehow transformed at or near the musical surf ace. 1 Schenker's notion of concealed motivic repetition, however, transcends this view because it reflects the hierarchical nature of tonal structures and implies that a motive may recur at deeper levels. 2 As Carl Schachter observes:

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