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Relevant bibliographies by topics / Beethoven's music

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Academic literature on the topic 'Beethoven's music'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Beethoven's music"

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Yudkin, Jeremy. "Beethoven's Mozart Quartet." Journal of the American Musicological Society 45, no. 1 (1992): 30–74. http://dx.doi.org/10.2307/831489.

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The literary critic Harold Bloom coined the term "anxiety of influence" to cover stages in the emancipation of poets from their powerful forebears. Much has been written on the shadow cast by Beethoven over later nineteenth-century composers, but Beethoven too had to come to terms with powerful influences. It has long been recognized that the slow movement of Beethoven's String Quartet, op. 18, no. 5, is modeled on that of Mozart's String Quartet in A major, K. 464. Here it is shown that in fact, the imitation involves not only the slow movement but all four of the movements. This provides an opportunity to examine in detail Beethoven's technique of reinterpreting his model. Indeed an examination of Beethoven's "anxiety" at different stages of his career may lead us to a closer understanding of his creative development. Toward the end of his life Beethoven imitated one of the movements from K. 464 again. Here may be seen the final stage in the confrontation of his anxiety.

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Chua, Daniel K. L. "Beethoven's Other Humanism." Journal of the American Musicological Society 62, no. 3 (2009): 571–645. http://dx.doi.org/10.1525/jams.2009.62.3.571.

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Beethoven's Promethean image has been reenforced in recent scholarship by the idea of the “heroic.” Although the escalation of the concept has been recognized as an act of selective hearing based on a handful of “heroic” works, Beethoven's Promethean identity is likely to remain because it embodies the ethical values of a particularly virulent strain of humanism; Beethoven is still employed today to mark the epochal events of human history—from the fall of the Berlin Wall to the atrocities of 9/11. However, the humanism this hero champions has been accused as a cause of the very inhumanity the music is suppose to erase. To offer an alternative is not difficult—there are many works by the composer that do not conform to the Promethean image; but the alternative would be meaningless if it were merely a matter of registering other topics or narratives without grounding the difference in a set of values that challenge the ethical force of the hero. This article sketches the possibility of such an alternative through the ethics of philosophers such as Emmanuel Lévinas and Theodor W. Adorno. It explores an-Other humanism in Beethoven both in the sense of an other Beethoven and a humanism founded on the Other.

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Knittel, K. M. "Wagner, Deafness, and the Reception of Beethoven's Late Style." Journal of the American Musicological Society 51, no. 1 (1998): 49–82. http://dx.doi.org/10.2307/831897.

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The belief that Beethoven's "late" or "third-period" works represent the pinnacle of his achievement is at odds with the earliest critical views of these pieces. In the decades just following the composer's death, critics could not separate the perceived musical problems of the late style from Beethoven's physical ailments. While the common explanation for the elevation of these last pieces to their current position of privilege has been a musical one-the works were written before their time, demanding considerable study before they were fully understood and appreciated-I propose that it was a new understanding of Beethoven's biography that led to their veneration. Richard Wagner, in his 1870 Beethoven essay, radically reinterpreted the influence of deafness, claiming that it was in fact the source of Beethoven's creativity and genius. This paper explores Wagner's romanticization of Beethoven's deafness and speculates as to why such a paradoxical position may have appealed not just to Wagner, but to the critics who followed him.

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van der Zanden, Jos. "Reassessing Ferdinand Ries in Vienna: Ramifications for Beethoven Biography." Nineteenth-Century Music Review 17, no. 2 (September 30, 2019): 225–44. http://dx.doi.org/10.1017/s1479409819000247.

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Ferdinand Ries was one of Beethoven's most important piano pupils. In 1838 he published a book, together with Franz Wegeler, which contained a wealth of information on the composer. It comprised such topics as Beethoven's loss of hearing, his dealings with publishers, his working methods, and the genesis of some of his compositions. Today, Ries's book is still regarded as a crucial source for Beethoven scholarship.

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Noorduin, Marten. "Is There Any Scope for Another Edition of Beethoven's Piano Sonatas?" Nineteenth-Century Music Review 17, no. 2 (June 4, 2019): 329–40. http://dx.doi.org/10.1017/s1479409819000053.

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Beethoven's piano sonatas have appeared in innumerable editions – most of them in more than one hundred, as the collection in the library of the Beethoven-Haus in Bonn reveals. The sources for these works have also never been as readily available as they are now, as most first editions can be viewed on the Beethoven-Haus website, which also hosts scans of many important manuscript sources, as well as links to images of source materials on the websites of other archives. Thus, the question must be asked: Is there any scope for another edition of Beethoven's Piano Sonatas?

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COOK, NICHOLAS. "The Other Beethoven: Heroism, the Canon, and the Works of 1813––14." 19th-Century Music 27, no. 1 (2003): 3–24. http://dx.doi.org/10.1525/ncm.2003.27.1.3.

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Abstract . Among Beethoven's works are a number that were highly successful in their own time but that became an embarrassment to later critics. In this article I explore the critical strategies used to explain away the success of two such works, Wellingtons Sieg and Der glorreiche Augenblick——works marginalized by the ““Beethoven Hero”” paradigm that came to regulate critical interpretation of the composer's music as well as underwriting the Beethovenian canon. I also explore ways in which such noncanonic works might be reexperienced, reading Wellingtons Sieg in terms of an aesthetic of hyper-representation and Der glorreiche Augenblick in terms of the enactment of community: such approaches, I argue, give access to aspects of Beethoven's music that the ““Beethoven Hero”” paradigm suppressed.

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Head, Matthew. "Beethoven Heroine: A Female Allegory of Music and Authorship in Egmont." 19th-Century Music 30, no. 2 (2006): 097–132. http://dx.doi.org/10.1525/ncm.2006.30.2.097.

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Almost a decade ago, Sanna Pederson observed that the heroic in the posthumous reception of Beet-hoven's life and music functions as a sign of the composer's unassailable masculinity. What Pederson did not explore, however, is how the construction of the heroic in Beethoven's works courts androgyny and so exhibits flexibility in precisely the realm of sex/gender that ossified after his death. In Beethoven's dramatic music, cross-dressed heroines move center stage, and their music courts a mixture of masculine and feminine signs that is not simply descriptive of their transvestism. Admittedly, female heroism in Beethoven's dramatic music is associated with conjugal fidelity (Leonore in Fidelio) and with the nationalist defense of Prussia against French invasion (Leonore Prohaska in Beethoven's incidental music of that name), but it also functioned as an allegory of the semiautonomous male artist and of transcendent authorship. Precisely because women were subject to severe constraints on their public actions, heroines who broke through those constraints were emblems of freedom. At the boundary of the real and the symbolic, women who transgressed sexual and gendered norms could serve as epitomes of transcendence in the aesthetic sphere. A case study of Beethoven's incidental music to Goethe's Egmont traces a metonymic chain linking the lead female character Klrchen to music, heroic overcoming, and authorship. Much of the music Beethoven composed for the play was for, or associated with, Klrchen, who comes to embody music and its production. Through music, Egmont is lulled to sleep in the concluding dungeon scene. And in this sleep, Klrchen appears to him as "Liberty," hovering on a cloud above the stage to a shimmering A-major-seventh chord. Communicating to the dozing hero through wordless musical pictorialism, she offers a glimpse of what in contemporary idealist aesthetics was music's otherworldly source.

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VAN DER ZANDEN, JOS. "THE SHAKESPEARE CONNECTION: BEETHOVEN'S STRING QUARTET OP. 18 NO. 1 AND THE VIENNA HAUSTHEATER." Eighteenth Century Music 18, no. 1 (February 5, 2021): 151–70. http://dx.doi.org/10.1017/s1478570620000469.

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ABSTRACTThe ‘Amenda anecdote’ from 1856 associates the second movement of Beethoven's String Quartet Op. 18 No. 1 (Adagio affettuoso ed appassionato) with the vault scene of Shakespeare's Romeo and Juliet. Sketchbook jottings by Beethoven from 1799, in French, confirm that such a link really existed. The question of what incited him to represent in his music elements of Shakepeare has not been settled to any satisfaction. It seems unlikely that Beethoven read a French version of the play. Nor can a public theatrical or operatic staging have been the stimulus, for the original vault scene was not allowed to be performed by the authorities. This study approaches the Shakespeare connection from the perspective of a cultural practice that has received limited attention in the literature, that of Viennese Haustheater. A performance of the vault scene in this context, it is argued, informed Beethoven's quartet movement. The most crucial piece of evidence are the memoirs of Caroline Pichler, which mention a tableau given at her parents’ house at the end of eighteenth century. One of the claims of the study is that Beethoven's Shakespeare connection was a one-time digression from normal practice, and that it is thus hazardous to draw this particular event into a wider hermeneutic debate.

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Smirnova, Natalia M. "And Once Again the Invisible Battle… Review of the book by A.I. Demchenko “Appassionata”." ICONI, no. 3 (2021): 182–90. http://dx.doi.org/10.33779/2658-4824.2021.3.182-190.

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Alexander I. Demchenko is well known to the musicological community and art lovers as the author of numerous books on various aspects of artistic creativity. His new monograph (Appassionata, Essays on Beethoven’s Music, Commemorating the 250th Anniversary of his Birth. Monograph. Moscow, 2021. 164 p.), addressed both to specialists and a broad circle of connoisseurs of the art of music, is focused entirely on analysis of the content-semantic essence of the artistic heritage of the great composer, to which all the cited facts of his life and consideration of the means of musical expression are subordinated. The core of the presentation is embodied in the works of Beethoven the basic essence of human existence (life activities, lyrical feelings, repose) and what determines the leading constants of Beethoven's attitude to the world (heroic moods, drama, epos).

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Mathew, Nicholas. "Beethoven's Political Music, the Handelian Sublime, and the Aesthetics of Prostration." 19th-Century Music 33, no. 2 (2009): 110–50. http://dx.doi.org/10.1525/ncm.2009.33.2.110.

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Abstract This article argues for a number of hitherto unrecognized continuities——stylistic, aesthetic, and ideological——between Beethoven's marginalized ““political music”” from the period of the Congress of Vienna and his canonical symphonic works. It rereads his œœuvre against the background of the popularity and ubiquity of the ““Handelian sublime”” in early-nineteenth-century Viennese public life——that is, the aesthetics and social practice of grand choral singing, associated primarily with some of Handel's oratorios, but also with the late choral works of Haydn. Presenting new archival research into Vienna's politicized choral culture, the article argues that contemporary theorizing about the power of the musical sublime became the theoretical wing of music's changing social status, as it was mobilized by the state during the Napoleonic Wars more than ever before. These new, Handelian contexts for Beethoven's music lead to three conclusions. First, the choral aesthetic background to Beethoven's symphonies has been largely overlooked. With reference to original performance contexts as well as the topical character of Beethoven's symphonies, the article argues that the symphonies are often best understood as orchestral transmutations of the grand Handelian chorus. Against this background, the appearance of an actual chorus in the Ninth might be reconceived as a moment when the genre's aesthetic debt is most apparent, rather than a shocking generic transgression. Second, the distinction, commonly elaborated by Beethoven scholars, between the mere bombast of Beethoven's political compositions and the ““authentic,”” Kantian sublime of human freedom supposedly articulated in his symphonies cannot easily be sustained. Third, the cultural entanglement of choral and symphonic music in Beethoven's Vienna reveals something not only of the political origins but also of the continuing political potency of Beethoven's symphonies. With reference to Althusserian theories of power and subjectivity, the article speculates that the compelling sense of listener subjectivity created by Beethoven's most vaunted symphonic compositions (noted by Scott Burnham) comes about in part through the music's and the listener's transformation of external, choral reflections of political power into internal, symphonic ones——a transformation that leaves its mark on the topical character of the symphonies, which, especially in their most intense moments of subjective engagement, are replete with official topics and gestures: marches, hymns, and fugues. This might explain why the music has so often been heard as simultaneously browbeating and uplifting, authoritarian and liberating.

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Dissertations / Theses on the topic "Beethoven's music"

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Tsang, Yik-man Edmond, and 曾奕文. "Beethoven in China: the reception of Beethoven's music and its political implications, 1949-1959." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31227892.

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Schartmann, Andrew. "A study of thematic introduction in Beethoven's music." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106301.

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Beethoven's contribution to the expansion and development of musical form is a prevalent topic in the scholarly literature on this composer. Surprisingly, though, one important aspect of this contribution remains unexplored—the role that thematic introduction plays in the structure of his works and the development of his style. According to William Caplin, introductions fall into one of two categories: thematic or slow. Whereas the former consists of 2-4 measures that precede the onset of the main theme, the latter comprises a more extensive section of music that prepares the exposition. This binary position, however, does not capture the plurality of introduction techniques employed by the composer. Chapter 1 confronts this difficulty, among others, in conjunction with current theories of thematic introduction. The remainder of the thesis lays out and develops the theoretical foundations for a fresh perspective on thematic introduction in Beethoven. By systematically presenting introduction types and integration techniques, we come to understand the highly varied nature of introduction function in this music. Chapter 2 outlines briefly the five introduction types found in Beethoven's oeuvre: accompanimental, hammer-stroke, generative, head-motive and anacrusis. Chapter 3 provides in-depth analyses of specific works to illustrate these types in greater detail and incorporates three integration techniques (framing, motivic influence, and metamorphic) to show the various ways in which Beethoven uses introductory material throughout a given composition.
La contribution de Beethoven à l'expansion et au développement de la forme musicale est un sujet répandu dans la littérature savante portant sur ce compositeur. Cependant, il est curieux qu'un aspect important de sa contribution demeure encore inexploré - le rôle joué par l'introduction thématique dans la structure de ses œuvres et le développement de son style. Selon William Caplin, les introductions se répartissent en deux catégories, soit thématiques ou lentes. Alors que la première se compose de deux à quatre mesures qui précèdent l'apparition du thème principal, la dernière comprend une section de musique plus vaste qui prépare l'exposition. Cette position binaire ne tient cependant pas compte de la pluralité des techniques d'introductions utilisées par le compositeur. Le chapitre 1 confronte cette difficulté, entre autres, en conjonction avec les théories actuelles de l'introduction thématique. Le reste de la thèse expose et développe les fondements théoriques d'une nouvelle perspective sur l'introduction thématique dans la musique de Beethoven. En exposant systématiquement les types d'introductions et les techniques d'intégration, nous arrivons à comprendre la nature très variée des introductions utilisées dans cette musique. Le chapitre 2 décrit brièvement les cinq types d'introductions que l'on retrouve dans l'œuvre de Beethoven: accompagnement, premier coup d'archet, générative, motif et anacrouse. Le chapitre 3 fournit une analyse en profondeur d'œuvres spécifiques permettant de mieux illustrer ces types d'introductions et présente trois techniques d'intégration (cadrage, influence motivique, et métamorphique) démontrant les différentes façons dont Beethoven utilise les introductions tout au long d'une composition.

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Setsu, Eya. "Beethoven's “Kreutzer” SonataAn Analysis." University of Akron / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=akron1619616899745278.

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Noorduin, Marten Albert. "Beethoven's tempo indications." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/beethovens-tempo-indications(61262f19-aa03-47db-823e-ad5d37e38659).html.

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Beethoven’s tempo indications have been the subject of much scholarly debate, but a coherent understanding of his intended tempos has not yet emerged. There are several reasons for this. Firstly, some of the discussion has been based on unreliable sources, or an unrepresentative sample of sources. Secondly, the substantial differences between tempo preferences in the early nineteenth century and now has made these tempo indications difficult to approach for musicians in the twentieth and twenty-first centuries. Thirdly, discussions of Beethoven’s tempo have typically focussed on works in one particular genre. This thesis overcomes these limitations by incorporating all of Beethoven’s works, and rooting the whole research in a wide variety of sources from the eighteenth and nineteenth century that have a plausible relationship with Beethoven’s practice. In particular the metronome marks by Beethoven, as well as those from his close contemporaries Carl Czerny, Ignaz Moscheles, and Karl Holz, provide great insight into the composer’s sense of tempo. By using as many sources on Beethoven’s tempo as possible, this approach makes reasonable estimations of the actual speeds that Beethoven had in mind for his works. Furthermore, it also allows an exploration of the musical intuitions that are the root cause of these speeds.

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Saffle, Michael. "Text as Music / Music as Text. Thomas Mann's «Doktor Faustus» and Beethoven's Sonata, op. 111." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37096.

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Davison, Christina DeCiantis Fauser Annegret. "The patron saint of music Beethoven's image and music in Japan's adoption of western classical music and practices /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2203.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Master of Arts in the School of Musicology." Discipline: Music; Department/School: Music.

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Schulze, Sean. "An ignored fantasy: An examination of Beethoven's Fantasy for Piano Op. 77." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/298813.

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This document provides a comprehensive examination of Beethoven's Fantasy for Piano Op.77. While most of Beethoven's other works for solo piano have been extensively researched and performed, this work has received very little scholarly or performance attention. The prime objective of this document is to redress this omission and shed some light on a work that contains several intriguing features. After tracing the fantasy tradition from which this work emerged, this document provides an extensive background into the specific origins of the Fantasy Op.77. Amongst the issues that are discussed is this work's relationship to the Choral Fantasy Op.80 and also those piano works by Beethoven that contain fantasy-like elements. The central portion of this document is concerned with the unique structural design that underpins this work. After discussing that small body of research that does address this work, this document puts forward an original analysis that puts this work in a new perspective. This involves a more eclectic analytical approach that embraces elements of Schenkerian as well as more conventional theoretical procedures. A definite connection between the compositional procedures in this fantasy and the late piano sonatas by Beethoven is then established. Ultimately this document reveals the compositional genius of Beethoven in this little known work, specifically in his ability to mask structural unity with the outward appearance of chaos and disorder.

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KWON, JUN. "Beethoven's Two-Movement Piano Sonatas and Their Predecessors." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212077710.

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PARK, YU JUNG. "FRANZ LISZT'S TRANSCRIPTION OF BEETHOVEN'S AN DIE FERNE GELIEBTE: A GUIDE TO PERFORMANCE." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/291605.

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Music Performance
D.M.A.
Liszt's transcription of An die ferne Geliebte is not part of the standard repertoire for pianists even though it is based on Beethoven's most important song cycle. Pianists might only know of the cycle from the quotation of the final song in the first movement of Robert Schumann's Fantasie, op 17. My monograph aims to identify those things that make this transcription effective and worthy of performance and to place it in a clear, historical context. This monograph is organized into 4 chapters and a conclusion. The first chapter contains background information and explores the general characteristics of Liszt's transcription. This chapter illustrates how Beethoven inspired Liszt to transcribe the work, including the story of Weihekuss, Liszt's family romance regarding Beethoven, and Liszt's contributions towards the Beethoven monument. In the second chapter, I investigate the historical context of Liszt's transcription of An die ferne Geliebte. This chapter presents research on Beethoven's An die ferne Geliebte and background information on Liszt's transcription. I trace Liszt's musical life in Weimar where he produced most of his best transcriptions, including An die ferne Geliebte. An examination of some of Liszt's letters from 1848 to 1850 serves to uncover the reasons behind Liszt's decision to transcribe this song and is also included in the second chapter. In addition, the general characteristics of Liszt's vocal music are examined along with how An die ferne Geliebte is different from Liszt's other transcriptions. I compare some of Liszt's transcriptions of Schubert's songs with the An die ferne Geliebe transcription. In chapter three, I compare and analyze three editions--the Peters Edition, the New Liszt Edition, and the Breitkopf & Härtel Edition--with Beethoven's manuscript of An die ferne Geliebte. The goal of this chapter is to discover the best possible interpretation for a pianist. As I examine these editions, I provide guidance to the pianist for how to select a edition when preparing to study and perform this piece. In the last chapter, I provide advice on practical performance matters with specific interpretive and technical recommendations for pianists. In particular, German diction, the interaction of the vocal line and piano accompaniment, and how the text affects the music are examined. In chapter four, I discuss how Liszt brings out the complex textures of the vocal line in his transcription.
Temple University--Theses

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Dougherty, William Patrick. "An Examination of Semiotics in Musical Analysis: The Neapolitan Complex in Beethoven's Op.131." The Ohio State University, 1985. http://catalog.hathitrust.org/api/volumes/oclc/23645007.html.

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Books on the topic "Beethoven's music"

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Barry, Cooper. The Beethoven compendium: A guide to Beethoven's life and music. London: Thames & Hudson, 1996.

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Beethoven's chamber music: A listener's guide. Montclair, NJ: Amadeus Press, 2012.

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Beethoven's piano music: A listener's guide. Montclair, NJ: Amadeus Press, 2011.

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Beethoven's Diabelli Variations. Oxford: Oxford University Press, 1999.

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Kinderman, William. Beethoven's Diabelli variations. Oxford: Oxford University Press, 2008.

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Beethoven's Diabelli variations. Oxford [Oxfordshire]: Clarendon Press, 1987.

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Beethoven's Hair: An Extraordinary Historical Odyssey and a Scientific Mystery Solved. New York: Broadway Books, 2000.

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Benzon, William. Beethoven's anvil: Music in mind and culture. Oxford: Oxford Univeristy Presss, 2002.

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Beethoven's anvil: Music in mind and culture. New York: Basic Books, 2001.

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Perlmutter, Richard. Beethoven's wig: Sing along symphonies. Cambridge, Mass: Rounder Kids, 2002.

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Book chapters on the topic "Beethoven's music"

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Zanden, Jos van der. "Antiquity in Beethoven's music." In Beethoven and Greco-Roman Antiquity, 197–230. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194354-8.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Beethoven’s Symphonies." In Anthology to Accompany Gateways to Understanding Music, 125–43. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-29.

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Zubillaga-Pow, Jun. "Jolivet’s Beethoven." In Historical Interplay in French Music and Culture, 1860–1960, 198–214. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315586847-11.

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Barclay, Katie, and François Soyer. "E.T.A. Hoffman (1776–1822), Beethoven’s Instrumental Music." In Emotions in Europe 1517–1914, 307–13. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003175537-50.

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Leikin, Anatole. "The narrative rhetoric of Beethoven’s Fifth Symphony." In The Routledge Handbook of Music Signification, 186–96. [1.] | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351237536-16.

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Jan, Steven. "‘Understood at Last’?: A Memetic Analysis of Beethoven’s ‘Bloody Fist’." In Music, Mind, and Embodiment, 420–37. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46282-0_27.

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Seaton, Douglass. "Narrative in Music: The Case of Beethoven’s “Tempest” Sonata." In Narratologia, 65–82. Berlin, New York: Walter de Gruyter, 2005. http://dx.doi.org/10.1515/9783110201840.65.

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"Music as Agency in Beethoven's Vienna." In Music-in-Action, 129–46. Routledge, 2017. http://dx.doi.org/10.4324/9781315090672-8.

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Frogley, Alain. "Beethoven's music in performance: historical perspectives." In The Cambridge Companion to Beethoven, 255–71. Cambridge University Press, 2000. http://dx.doi.org/10.1017/ccol9780521580748.016.

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"List of Music Examples." In From Silence to Sound: Beethoven's Beginnings, xi—xviii. Boydell & Brewer, 2020. http://dx.doi.org/10.2307/j.ctvktrwx0.4.

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Conference papers on the topic "Beethoven's music"

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Takamatsu, Yusuke. "Synthese als Modus der Prozessualität bei Schubert: Sein spezifisches Wiederholungsprinzip im langsamen Satz." 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/10.25366/2020.73.

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In contrast to Beethoven’s music, Schubert’s music has been described through the concept of “a-finality” (Fischer 1983), employing the same elements repeatedly. In this sense, Schubert’s music seems incompatible with the kind of “processual” thinking which is typical for Beethoven’s music. This paper addresses such incompatibility through a comparison of the slow movements of Schubert’s piano sonata D 840 with those of Beethoven’s piano sonata No. 8 (op. 13) which is one of the possible precursors for D 840. The second movement of D 840 features an ABABA structure in which the themes of the first part A and the first part B become integrated into the second part A. This kind of integration differs fundamentally from the design of Beethoven’s op. 13, insofar as the two themes are combined while they also maintain their initial form. This mode of combination suggests Schubert’s own type of synthetic or “processual” thinking.

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Zorn, Magdalena. "Musik mit dem Radio hören: Über den Begriff der musikalischen Aufführung." 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/10.25366/2020.77.

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This article focuses on the phenomenon of listening to music via radio transmission. In an examination of linguistic findings and media archaeological observations, the specific performance characteristics of mediatized music are worked out using the example of a radio broadcast of a Beethoven symphony. The music-aesthetic and sociological essay “The Radio Symphony: An Experiment in Theory” (1941), written by Theodor W. Adorno during his stay in New York, is subjected to a re-reading. Although Adorno showed the full scope of his cultural conservatism in this essay, his thoughts nevertheless exemplify a function of technically mediated music reception that seems to be constitutive for the concept of musical performance as a whole.

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Taylor, Stephen. "From Program Music to Sonification: Representation and the Evolution of Music and Language." In The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.060.

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Research into the origins of music and language can shed new light on musical representation, including program music and more recent incarnations such as data sonification. Although sonification and program music have different aims — one scientific explication, the other artistic expression — similar techniques, relying on human and animal biology, cognition, and culture, underlie both. Examples include Western composers such as Beethoven and Berlioz, to more recent figures like Messiaen, Stockhausen and Tom Johnson, as well as music theory, semiotics, biology, and data sonifications by myself and others. The common thread connecting these diverse examples is the use of human musicality, in the bio- musicological sense, for representation. Links between musicality and representation — dimensions like high/low, long/short, near/far, etc., bridging the real and abstract — can prove useful for researchers, sound designers, and composers.

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Cheng, Yingjie. "The Music Analysis of Beethoven 's Piano Sonata qFarewellq." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.75.

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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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Kuznetsov, Andrey, and Evgeny Pyshkin. "Function-based and circuit-based symbolic music representation, or back to Beethoven." In the 2012 Joint International Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2160749.2160785.

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Reports on the topic "Beethoven's music"

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Music in the Meeting Room, Beethoven's 9th? IEDP Ideas for Leaders, November 2013. http://dx.doi.org/10.13007/264.

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