Relevant bibliographies by topics / Beethoven’s Ninth Symphony

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  1. Journal articles
  2. Dissertations / Theses
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  5. Conference papers

Academic literature on the topic 'Beethoven’s Ninth Symphony'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Beethoven’s Ninth Symphony"

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GLAUERT, AMANDA. "‘NICHT DIESE TÖNE’: LESSONS IN SONG AND SINGING FROM BEETHOVEN’S NINTH SYMPHONY." Eighteenth Century Music 4, no. 1 (March 2007): 55–69. http://dx.doi.org/10.1017/s147857060700070x.

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AbstractDiscussions of the recitative intervention from the solo baritone in the finale of Beethoven’s Ninth Symphony usually focus on how his words might offer a commentary on the discourse of the symphony as understood in instrumental terms. This article seeks to interpret the baritone’s words as a call to song – song in its literal as well as idealized sense, as identified through strophic treatment and folk-like character. Beethoven’s borrowing of material from his own setting of Bürger’s Gegenliebe for his ‘Ode to Joy’ tune is taken as a sign of the composer engaging with Bürger’s advocacy of simple diegetic song, an advocacy that sits provocatively alongside the abstract idealism of Schiller’s An die Freude. Concentrating on the song-like aspects within the finale of the Ninth Symphony in this way might seem to magnify the effect of the silences and disjunctures within the movement. However, Johann Gottfried Herder (the poet and theorist of the lyric) embraced silence as one of the conditions of folk-like song, as Beethoven seems to have understood from his own settings of Herder’s poetry. A comparison between the Ninth Symphony finale and some of Beethoven’s actual settings suggests a new understanding of how the composer uses silence within the symphony. It also points up the radical nature of his balance between abstract and literal renditions of song in this work, a balance that even outstrips the Helen-Gretchen contrast in Goethe’s Faust for its subtlety and pervasiveness.
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Horváth, Pál. "Untying the “Musical Sphinx:” Beethoven’s Symphony No. 9 in Nineteenth-Century Pest-Buda." Studia Musicologica 61, no. 1-2 (April 13, 2021): 33–50. http://dx.doi.org/10.1556/6.2020.00003.

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It is well known that Beethoven’s Ninth was followed by a temporary crisis in the genre of the symphony: the next generation found it difficult to get away from the shadow of this monumental piece. The Ninth was first performed in Hungary in 1865, more than 40 years after the world-premiere. We should add, however, that during the first half of the nineteenth century, no professional symphonic orchestra and choir existed in Pest-Buda that would have coped with the task. Although the Hungarian public was able to hear some of Beethoven’s symphonies already by the 1830s – mainly thanks to the Musical Association of Pest-Buda – in many cases only fragments of symphonies were performed. The Orchestra of the Philharmonic Society, founded in 1853, was meant to compensate for the lack of symphonic concerts. This paper is about the performances of Beethoven’s symphonies in Pest-Buda in the nineteenth century, and it especially it focuses on the reception of Symphony No. 9 in the Hungarian press, which cannot be understood without taking into consideration the influence of the Neudeutsche Schule (New German School).
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Noorduin, Marten. "The metronome marks for Beethoven’s Ninth Symphony in context." Early Music 49, no. 1 (February 1, 2021): 129–45. http://dx.doi.org/10.1093/em/caab005.

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Abstract In recent years, Beethoven’s metronome marks for his Ninth Symphony have experienced a renewed relevance, with several ensembles incorporating the indicated speeds in their performances. Nevertheless, previous research has shown that some of the marks have been incorrectly transmitted, and there is the suspicion that further mistakes are still undiscovered. Focusing particularly on the second and fourth movements, this article discusses the historical sources and scholarly contexts for these markings, within a historical framework that draws on Beethoven’s general tempo principles, as well as observations from contemporaries. The article suggests that the trio of the second movement has three speeds that can be justified historically, although the most popular option, minim = 160, arguably has the least supporting evidence. The discussion also draws attention to another metronome mark for the final section of the symphony that has been often overlooked. Finally, it argues that one of the most often cited examples of an erroneously transmitted metronome mark, the dotted minim = 96 for the Schreckensfanfare found in the later sources, is consistent with Beethoven’s wider practice, and should provide an incentive for performers to experiment with historically informed tempi in this familiar repertory.
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Ito, John Paul. "Spiritual Narratives in Beethoven’s Quartet, Op. 132." Journal of Musicology 30, no. 3 (2013): 330–68. http://dx.doi.org/10.1525/jm.2013.30.3.330.

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This paper, taking its cue from the movement’s heading, reads the “Heiliger Dankgesang” from Beethoven’s String Quartet, op. 132, in terms of spirituality, divinity, and death, following a formal narrative understood in terms of Eastern-influenced conceptions of death and afterlife found in Beethoven’s Tagebuch. It has often been noted that the movements of op. 132 present extremely strong contrasts with one another, and this paper draws connections between the narrative shapes of the various movements and several of the quite varied spiritual perspectives explored by Beethoven. Viewed in this way, op. 132 synthesizes two of the areas in which Maynard Solomon has argued that Beethoven was open to multiple contrasting and even contradictory possibilities—the musical and the spiritual. The contrasts and conflicts among the movements and among the spiritual narratives that they suggest add new dimensions to inter-opus connections as well, giving new depth to the intertextual relationship between the String Quartet, op. 132, and the Ninth Symphony.
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Dujović, Marijana. "The Premiere of Beethoven’s Symphony No. 9 in Belgrade." Studia Musicologica 61, no. 1-2 (April 13, 2021): 51–57. http://dx.doi.org/10.1556/6.2020.00004.

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The premiere of Beethoven’s Symphony No. 9 in Belgrade, capital of Serbia, was in 1910. The situation in Belgrade, around 1910 in the field of musical culture, and culture in general, was not so good as in other parts of Europe. In a society with not so many professional musicians, where amateurs were the main carriers of musical life, the young composer and conductor Stanislav Binički, who had come back from his studies in Munich decided to organize with a group of enthusiasts the premiere of Beethoven’s Ninth Symphony. In this article I will represent the musical situation in the capital around 1910 and show what this premiere brought to audiences and musicians in Belgrade.
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Bezić, Nada. "Tracing Beethoven in Zagreb." Studia Musicologica 61, no. 1-2 (April 13, 2021): 161–68. http://dx.doi.org/10.1556/6.2020.00012.

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Beethoven’s Zagreb and Croatian acquaintances included his aristocratic friends, the two countesses, Ana Barbara Keglevich and Anne Marie Erdődy née Niczky, whom he intented to visit in 1817 in her castle near Zagreb. His other friends, Nanette and J. A. Streicher, were ancestors of today’s Zagreb musicians, and general Greth, husband of Jeannette d’Honrath, played on a private concert there in 1819. Beethoven’s music was performed on the first concert of the Musikverein in Zagreb (today Croatian Music Institute, CMI) in 1827. A representative of the Musikverein was present at the Vienna centenary celebrations of his birth in 1870; interesting material about that is kept in the CMI, together with some early and first editions of Beethoven’s works. The local premiere of the Ninth Symphony took place in 1900, with more than 200 performers. Other notable performances of the work include that conducted by Lorin Maazel (1987), and the project entitled Nine for the Ninth Centenary (1994), which united young musicians in the wartime. Tracing Beethoven in Zagreb also concerns his name, which was written on the walls of the CMI building in 1876, and his impressive bust made in 1939 by Vanja Radauš, kept today in a clinic for otorhinolaryngology.
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Grier, Francis. "The inner world of Beethoven’s ninth symphony: Masculine and feminine?" International Journal of Psychoanalysis 101, no. 1 (January 2, 2020): 84–109. http://dx.doi.org/10.1080/00207578.2019.1696655.

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Avery, Tamlyn. "“Split by the Moonlight”: Beethoven and the Racial Sublime in African American Literature." American Literature 92, no. 4 (October 6, 2020): 623–52. http://dx.doi.org/10.1215/00029831-8780863.

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Abstract As Nathan Waddell has recently argued of the literary modernists whose aesthetic incorporation of the Beethovenian legend complicates the dominant view of modernism as an antitraditionalist enterprise, Ludwig van Beethoven’s music has in fact left a more significant and complicated mark on African American literature relating to the sublime properties of his musical aesthetic than has previously been recognized. As a point of departure, I apply Michael J. Shapiro’s definition of the racial sublime as a confrontation with the “still vast oppressive structure that imperils black lives” to the setting of twentieth-century African American literature, where Beethoven’s Romantic sublime often stands in for the racial sublime. This transference, I argue, is not an expression of the artist’s repressed instinctual conflict, the mere sublimation of their devotion to “white” culture and the cult of genius, as Amiri Baraka once suggested. Rather, Beethoven’s music formed a persistent and powerful political allegory of the racial sublime for many prominent twentieth-century authors in their literary works, where the sublime constitutes a sublimation of direct forms of power into a range of aesthetic experiences. This can be observed in the Beethovenian ekphrasis featured in prose works by James Weldon Johnson, Langston Hughes, James Baldwin, and Ralph Ellison—four writers whose works have also been considered indebted to blues and jazz musical influences and who approach the racial sublime not through language but by appealing to music’s nonsignifying suggestiveness, in order to capture the intensities that radiate out of these encounters. As this article reveals, their allegorical uses for Beethoven are not unitary. The forcefield of the racial sublime is registered allegorically through the performative sublime of Sonata “Pathétique” in Johnson’s The Autobiography of an Ex-Colored Man (1912); the sublime melancholy of the “Moonlight” Sonata in Hughes’s tragic short story “Home” (1934); the spiritual sublime of Beethoven’s piano concerti and the Ninth Symphony in Baldwin’s short story “Previous Condition” (1948); and the heroic sublime of the Fifth Symphony in Ellison’s bildungsroman Invisible Man (1952).
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Chang, Eddy Y. L. "The daiku phenomenon: social and cultural influences of Beethoven’s Ninth Symphony in Japan." Asia Europe Journal 5, no. 1 (February 9, 2007): 93–114. http://dx.doi.org/10.1007/s10308-006-0097-8.

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Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.

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The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and the song cycle. The genre of the choral symphony started with Beethoven’s Ninth Symphony and includes such works as Mendelssohn’s Second Symphony, Scriabin’s First Symphony and Mahler’s Second, Third and Eighth Symphonies. Both genres exemplify composers’ attempts to combine the most substantial genre of instrumental music embodying the composers’ philosophical worldviews with that of vocal music, which expresses the emotional content of the literary texts set to music. The issue of expressivity in music is further elaborated in examinations of various composers’ approaches to it. Wagner claimed that the purpose of music was to express the composers’ emotional experience and especially the literary texts set to music. Stravinsky expressed the view that music in its very essence is not meant to express emotions. He called for an emotionally detached approach to music and especially to text settings in vocal music. Schoenberg pointed towards a more introversive and abstract approach to musical expression and text setting in vocal music, renouncing outward depiction for the sake of inner expression. Similar attitudes to this position were held by painter Wassily Kandinsky and music theorist Theodor Adorno. The author views Schoenberg’s approach to be the most viable for 20th and early 21st century music.
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Dissertations / Theses on the topic "Beethoven’s Ninth Symphony"

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Parsons, James 1956. "Ode to the Ninth: the Poetic and Musical Tradition Behind the Finale of Beethoven's Choral Symphony." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc935728/.

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This study examines the finale of Beethoven's choral symphony and focuses on its inspirations and aims to invoke critical theories involving genre, namely genre's "horizon of expectation", and lead to an enriched perspective that points toward a number of compelling aspects of the Choral Finale overlooked by previous commentators.
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Oliveira, Sidnei de [UNIFESP]. "O Beethoven de Wagner em O Nascimento da Tragédia de Nietzsche." Universidade Federal de São Paulo (UNIFESP), 2013. http://repositorio.unifesp.br/handle/11600/39333.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta Dissertação tem como objetivo mostrar a recepção do Beethoven de Wagner na obra de Nietzsche, mais precisamente em seu livro O Nascimento da Tragédia. Wagner tenta explicar aos alemães as razões de Beethoven figurar no mesmo patamar de Goethe e Schiller, Wagner utiliza-se de uma exposição do homem e do gênio Beethoven para chegar a esta conclusão. A partir de uma breve análise da Nona Sinfonia podemos perceber porque esta obra foi tão importante para Wagner dar sequência em seu drama musical, e justamente nesta junção que houve da palavra com a música na composição de Beethoven é que Nietzsche vê a importância destes dois compositores alemães, utilizando-os para sua primeira obra. Em resumo, mostraremos a apropriação que Nietzsche realiza não apenas do texto Beethoven, mas de Wagner e de Schopenhauer para explicar a questão musical no Nascimento da Tragédia.
This dissertation aims to show the reception of Wagner’s Beethoven in the work of Nietzsche, more precisely in his book The Birth of Tragedy. Wagner tries to explain the reasons for the Germans Beethoven appear at the same level of Goethe and Schiller, Wagner uses an exposure of Beethoven as a man and as a genius to reach this conclusion. From a brief analysis of Beethoven’s Ninth Symphony we can see why this work was so important for Wagner to give sequence to his musical drama, and precisely at this juncture between word and music in Beethoven’s composition Nietzsche sees the importance of these two German composers, using them for his first work. In summary, we will show the appropriation that Nietzsche performs not only of Beethoven, but of Wagner and Schopenhauer to explain the musical issue in The Birth of Tragedy.
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Stiles, Robert Daniel. ""Lass uns das Lied des Schiller": Musical and philosophical unities in Ludwig van Beethoven's Ninth Symphony (Germany)." Thesis, 1996. http://hdl.handle.net/1911/14095.

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The Ninth Symphony of Ludwig van Beethoven is unified by both musical and philosophical monothematic ideals. The "Ode to Joy" melody of the Finale is found in every movement, providing melodic, harmonic, and structural cohesiveness. Philosophical unity is provided in the text to the "Ode" and its reflection on Beethoven's own inner struggles and his desire for the unity of humanity. These separate entities combine to create a work of oneness, both in musical content and meaning. A fresh look at the work provides an opportunity to examine the validity of older interpretations and compare them with new research and concepts. This comparison suggests new ideas about the work's meaning.
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Lee, Ming-lun, and 李明倫. "Conductors and the Idea of "Authenticity" ─ Beethoven''s Ninth Symphony and the Thoughts and Practices of Conductors Who Specialize in Early Music." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/2jk6fm.

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碩士
國立臺灣大學
音樂學研究所
91
What is the relationship between conductors and the idea of “authenticity”? Are the conductors who specialize in early music in search of “authenticity”? These questions are not unfamiliar to musicologists and philosophers. By rethinking these questions, this thesis hopes to discover what the early music composers really pursue. 　　Through an examination of the period-instruments recordings of Beethoven’s Ninth Symphony, I will compare how these early music specialists deal with musical texts, pitch standard, period instruments, size and disposition, balance, articulation and phrasing, vibrato, tempo, etc. Then using Peter Kivy’s categorization of “authenticity” ─ authenticity as intention, authenticity as sound, authenticity as practice and personal authenticity, I will discuss both philosophically and empirically how these conductors approach the issues of the composers’ performing intentions, the contemporary sound, the contemporary performance practice, and the intuition, imagination, and spontaneity of performers. 　　In conclusion, for many famous conductors who specialize in early music, “authenticity” is not their final aim. Instead, they are in search of specialization, which helps them achieve a balance between historical knowledge and personal intuition, imagination, or spontaneity, and thereby feel free in their performances.
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Books on the topic "Beethoven’s Ninth Symphony"

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Beethoven, the Ninth symphony. New York: Schirmer Books, 1995.

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Parsons, James. Ode to the Ninth: The poetic and musical tradition behind the finale of Beethoven's "Choral symphony". Ann Arbor, Mich: UMI, 1992.

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Schenker, Heinrich. Beethoven's ninth symphony: A portrayal of its musical content, with running commentary on performance and literature as well. New Haven: Yale University Press, 1992.

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Shrock, Dennis. Ludwig van Beethoven – Symphony no. 9. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0006.

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Chapter 6 begins with an Introduction that discusses the exceptional popularity of Beethoven’s final symphony. An historical overview of all nine symphonies follows, with emphasis on unique qualities, the genesis of the Ninth, and factors of its premiere. Other historical information includes biographical material about Friedrich von Schiller, his poem “An die Freude,” other musical settings of the poem, and Beethoven’s choice and arrangement of verses. Musical discussion of Beethoven’s Ninth focuses on the formal structures of all movements, the relationship of the first three movements to the fourth, and extra-musical characteristics. Performance practice topics include tempo based on character, metric accentuation, orchestration, and disposition of performers on stage.
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Levy, David Benjamin. Beethoven: The Ninth Symphony. Yale University Press, 2008.

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Press, Microsoft. Microsoft Beethoven: Ninth Symphony. Microsoft Press, 1993.

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Beethoven: The Ninth Symphony. Holiday House, 1998.

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Levy, David Benjamin. Beethoven: The Ninth Symphony. Yale University Press, 2010.

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Beethoven: The Ninth Symphony (Revised Edition). Yale University Press, 2003.

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Bouillon, Jean Paul. Klimt: Beethoven (The Frieze for the Ninth Symphony). Rizzoli, 1991.

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Book chapters on the topic "Beethoven’s Ninth Symphony"

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November, Nancy. "Introduction." In Beethoven's String Quartet in C-sharp Minor, Op. 131, 1–4. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190059200.003.0001.

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IN THE LIVES OF great artists, the late or last works are often considered to be the greatest, the flowering or crowning of all that came before. This phenomenon, the valuing of “late” creations, artistic creations in particular, is perhaps nowhere more obvious than in connection with Beethoven. The late works, especially the late quartets, late piano sonatas, and the last symphony (the Ninth), are much discussed, much performed, and highly prized. In the case of Beethoven’s String Quartet in C-sharp minor, Op. 131 (1826), this canonization is everywhere apparent. The work is not only firmly a part of the scholarly canon, the performing canon, and the pedagogical canon, but also makes its presence felt in popular culture, notably in film (for example, ...
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Brown, David J. "Paul Rapoport: Beethoven’s Ninth Symphony in relation to Brian’s First 1." In HB Aspects of Havergal Brian, edited by Jürgen Schaarwächter, 163–66. Routledge, 2018. http://dx.doi.org/10.4324/9780429451874-12.

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"Appendix 2. Contrary Motion Counterpoint in the First Movement of Beethoven’s Ninth Symphony." In Wagner, Schumann, and the Lessons of Beethoven's Ninth, 174–76. Berkeley: University of California Press, 2019. http://dx.doi.org/10.1525/9780520960978-012.

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"Appendix 4. Contrary Motion Counterpoint in the Fourth Movement of Schumann’s Second Symphony." In Wagner, Schumann, and the Lessons of Beethoven's Ninth, 179–81. Berkeley: University of California Press, 2019. http://dx.doi.org/10.1525/9780520960978-014.

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"Appendix 5. Contrary Motion Counterpoint in the First Movement of Brahms’s First Symphony." In Wagner, Schumann, and the Lessons of Beethoven's Ninth, 182–84. Berkeley: University of California Press, 2019. http://dx.doi.org/10.1525/9780520960978-015.

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Solie, Ruth A. "Beethoven as Secular HumanistIdeology and the Ninth Symphony in Nineteenth-Century Criticism." In Music in Other WordsVictorian Conversations, 5–43. University of California Press, 2004. http://dx.doi.org/10.1525/california/9780520238459.003.0002.

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Cook, Nicholas. "The conductor and the theorist: Furtwängler, Schenker and the first movement of Beethoven's Ninth Symphony." In The Practice of Performance, 105–25. Cambridge University Press, 1995. http://dx.doi.org/10.1017/cbo9780511552366.006.

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Dell'Antonio, Andrew. "Beethoven AntiheroSex, Violence, and the Aesthetics of Failure, or Listening to the Ninth Symphony as Postmodern Sublime." In Beyond Structural Listening?Postmodern Modes of Hearing, 109–48. University of California Press, 2004. http://dx.doi.org/10.1525/california/9780520237575.003.0005.

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"4. Beethoven Antihero: Sex, Violence, and the Aesthetics of Failure, or Listening to the Ninth Symphony as Postmodern Sublime." In Beyond Structural Listening?, 109–53. University of California Press, 2019. http://dx.doi.org/10.1525/9780520937024-006.

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Conference papers on the topic "Beethoven’s Ninth Symphony"

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Siegert, Christine. "Komponisten-Gesamtausgaben im digitalen Zeitalter: Perspektiven und Reflexionen am Beispiel Ludwig van Beethovens." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.95.

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In the field of edition philology a diverse range of digital approaches is being put to the test. Taking Ludwig van Beethoven as a basis, this article demonstrates the limits of printed editions and presents preliminary considerations for a genuinely digital edition of his works. Various versions of the Ninth Symphony, the publisher Sigmund Anton Steiner’s publication concept for the Seventh and Eighth Symphonies and Wellingtons Sieg, which incorporated arrangements for highly diverse scorings, as well as the use of single numbers from the opera Fidelio in other music theatre works of the time, all serve as examples. The significance of metatexts and connections in terms of materiality are also discussed. Conceptional principles of such a Digital Beethoven Edition would include an inclusive approach allowing for multiple perspectives, which greatly expands both the number of sources on which an edition is based and the potential for insight, in contrast with traditional editions.
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Xing, Rong. "Only When Having Undergone Agony, Can One Experience Joy Study on Musical Features and Artistic Quality of Beethoven's “Ninth Symphony”." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.36.

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