Relevant bibliographies by topics / Beethoven's music / Dissertations / Theses
To see the other types of publications on this topic, follow the link: Beethoven's music.

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

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 dissertations / theses for your research on the topic 'Beethoven's music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
3

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
7

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
8

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
10

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
11

Yeh, Gloria Nye-Gin. "Beethoven's Piano Concerto in C Major, opus 15: structural analysis and performance strategies /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335548904.

Full text
APA, Harvard, Vancouver, ISO, and other styles
12

Lai, Wei-Ya. "Beethoven's late style in his last five piano sonatas." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1243014360.

Full text
Abstract:
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisor: David Carson Berry. Title from electronic thesis title page (viewed Aug. 11, 2009). Includes abstract. Keywords: Beethoven; piano sonatas; late style. Includes bibliographical references.
APA, Harvard, Vancouver, ISO, and other styles
13

Evans, Lely Dai. "Implications of compound dynamic accent markings in Beethoven's early chamber works with the fortepiano." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0042.

Full text
Abstract:
This dissertation aims to explore the functions and meanings of four frequently used dynamic accent markings (fp, rf, sf and sfp) in Beethoven’s early chamber music with the fortepiano, with the consideration of acoustic qualities and playing capabilities of instruments intended for the studied works. The sources of reference here include the three Op.1 piano trios, two Op.5 cello sonatas, and three Op.12 violin sonatas, using a modern critical edition in conjunction with the first editions published during Beethoven's lifetime. The study consists of two parts. The first part surveys historical aspects including: 1) the development of relevant instruments, namely the bow and the fortepiano, and 2) existing accentuation conventions, especially those found in selected works of Haydn and Mozart, and appropriate treatises from Beethoven's time. The second part of the study entails the examination of consistency and frequency of dynamic accent markings in general, and that of individual accent markings using specific musical examples. The process of this investigation shows that these signs have distinct meanings, and consequently, require different treatments for their respective executions in performance. It also implies that the acoustic qualities of the ensembles with instruments from Beethoven's time are the most important factor contributing to variations found in his use of the accent markings among the different genres. Such acoustic qualities include the quieter volume and faster decay of the fortepiano, as well as the larger sonority from the cello especially in the lower register, when compared with instruments made for today's concert halls. These insights not only illuminate the possible ways to realize each marking, but also clarify accent markings which could seem inconsistent to modern performers, in terms of acoustic balance, especially in combinations that include the cello.
APA, Harvard, Vancouver, ISO, and other styles
14

Karydis, Dimitris. "Beethoven's annotations to Cramer's twenty-one piano studies : context and analysis of performance." Thesis, City University London, 2006. http://openaccess.city.ac.uk/8460/.

Full text
Abstract:
The present study focuses on the annotations Beethoven appended to twenty-one piano studies by John Baptist Cramer, when teaching his nephew Karl. Beethoven held Cramer's collection of studies in high esteem and considered them the best preparatory school for his own works. The reading of his annotations reveals a continual preoccupation with issues such as legato (or bindung in Beethoven's own words), accentuation and the application of poetic feet in the music. This study examines the context of these annotations and applies them to Beethoven's piano music. The author's goal is to stimulate interest in Cramer's neglected Studio per il Pianoforte and to use Beethoven's advice on the execution of these studies as a guide for the performance of his own works. The author believes that this study will serve as a valuable tool to the teachers who teach the piano music of Beethoven and his era, the students who study his music as well as the professional performers of Beethoven's piano works.
APA, Harvard, Vancouver, ISO, and other styles
15

Ormesher, Richard. "Beethoven's instrumental fugal style : an investigation of tonal and thematic characteristics in the late-period fugues." Thesis, University of Sheffield, 1989. http://etheses.whiterose.ac.uk/1894/.

Full text
Abstract:
The present thesis examines the instrumental fugues written by Beethoven during the last twelve years of his life (1815-27). It does not deal specifically with the fugati nor with the incidental fugues though these may on occasion be mentioned. The fugues to be discussed are therefore as follows: Op. 102 no.2 (III), Op. 106 (IV), Op. 110 (III), Op. 120(var. 32), Op. 133 and Op. 131 (I). The criteria by which the scope of the thesis has been restricted to these particular works are outlined during the Introduction which also includes a discussion of the style of analysis adopted and of the relevance of certain analytical methods. The aims of the thesis in dealing with these works are as follows: first and foremost it is intended that a series of detailed analyses of the late-period fugues be offered, since the fugue as a genre in Beethoven's music has suffered undue neglect. Secondly the thesis seeks to determine the means by which the fugue is integrated into the musical structure as a totality and to assess its role within that structure. Finally the thesis aims to establish whether or not the several fugues exhibit similar tendencies in respect of their tonal characteristics and thematic treatment. In order to fulfill the primary objective of the thesis, the fugues are considered individually, a chapter being devoted to each of them. These analyses form the bulk of the thesis and incorporated within them are observations relevant to the second objective of the thesis. For a number of reasons, enlarged upon during the Introduction, it has seemed fit to divide the analyses into two groups, those in Part II of the thesis being more substantial than are those in Part I. The conclusion deals with the third objective of the thesis by drawing out for further consideration and comparison the salient points from each analysis. In this manner, it is submitted, the present thesis will bridge a substantial gap in the Beethoven literature and in so doing afford fresh insights into certain of Beethoven's most exalted creations.
APA, Harvard, Vancouver, ISO, and other styles
16

Brayne, Marilyn Patricia. "A rehearsal model for Beethoven's Meeresstille und glückliche Fahrt, opus 112 /." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63130.

Full text
APA, Harvard, Vancouver, ISO, and other styles
17

Parsons, James. "Music and Words. Towards an Understanding of Text in the Finale of Beethoven's Choral Symphony." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37116.

Full text
APA, Harvard, Vancouver, ISO, and other styles
18

De, Seguirant David John. "Tempo markings in Beethoven's Symphony no. 9 in D minor op. 125 : a study of selected documents and interpretations /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
19

Luong, Vivian. "Schenkerian performance and analysis in dialogue: A reconsideration of Beethoven's Piano Sonata in E minor, Op. 90, i." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114549.

Full text
Abstract:
Heinrich Schenker's analytical essays in Das Meisterwerk in der Musik and Der Tonwille demonstrate a prescriptive and analytically-biased approach to performance. His critical editions and personally-annotated scores reveal a similar approach, where only the universal structure of a piece—attained through analysis and a consideration of the composer's intentions—should inform performance. Schenker's restrictions on the performer's agency and personal interpretation stand opposed to current scholarship, where a reciprocal and equal relationship between performers and analysts is central. In order to ameliorate this disjuncture, this thesis negotiates between Schenker's polemics and performers' interpretive freedom through the shared concept of ambiguity. Since an a priori understanding of objective musical content is axiomatic in Schenker's philosophy of performance, what happens when a work's structure resists a straightforward Schenkerian reading? In this situation, can we reverse Schenker's unidirectional analysis-to-performance method and reconcile a single analytical reading with multiple interpretations? From these questions, my thesis examines the first movement of Beethoven's Piano Sonata in E minor, Op. 90, a work in which Schenker himself encountered formal and structural ambiguities. After an investigation of the historical and philosophical development of Schenker's thoughts on performance, I explore his unpublished conflicting graphs and annotated scores of this work. In these primary documents, I identify two ambiguous passages and demonstrate how these multiple readings can be clarified in my own Schenkerian graph through considering the performer's perspective on register and expectation. I conclude by suggesting a potential reconciliatory path between a Schenkerian graph and multiple interpretations by reconceptualizing the graph as an analytical process which encounters multiple possible readings in time.
Dans Das Meisterwerk in der Musik et Der Tonwille, qui regroupent des articles analytiques, Heinrich Schenker présente une théorie de l'interprétation musicale régie par la prescription et l'analyse. Les éditions critiques qu'il a préparées et les annotations de ses partitions illustrent cette même philosophie, selon laquelle l'interprétation d'une oeuvre ne doit être guidée que par sa structure fondamentale, révélée grâce à l'analyse et à la prise en compte des intentions du compositeur. Les restrictions qu'impose Schenker au rôle des interprètes et à leur interprétation personnelle vont à l'encontre des recherches actuelles, qui privilégient une relation réciproque et égalitaire entre interprètes et analystes. La présente thèse vise à dresser un pont entre ces deux visions, c'est-à-dire entre les perspectives polémiques de Schenker et la liberté d'interprétation des exécutants, en tirant parti du concept d'ambiguïté qui leur est commun. Comme la philosophie interprétative de Schenker repose sur une compréhension a priori du contenu musical d'une oeuvre, qu'arrive-t-il quand la structure de l'œuvre résiste à une analyse strictement schenkérienne? Dans une telle situation, est-il possible d'inverser la méthode unidirectionnelle de Schenker, qui s'ancre dans l'analyse pour guider l'interprétation, et de concilier une lecture analytique unique et des interprétations multiples? Pour explorer ces questions, j'examine dans ma thèse le premier mouvement de la sonate en mi mineur op. 90 de Beethoven, une œuvre dans laquelle Schenker lui-même s'est buté à des ambiguïtés formelles et structurelles. Après avoir tracé l'évolution historique et philosophique des réflexions de Schenker sur l'interprétation, j'examine les graphes contradictoires non publiés qu'il a produits pour cette œuvre, de même que ses partitions annotées. J'extrais de ces sources primaires deux passages ambigus et, pour démontrer comment la prise en compte de la perspective de l'interprète à l'égard du registre et des attentes permet de clarifier ces lectures multiples, je propose mon propre graphe. En conclusion, je suggère une façon de concilier graphe schenkérien et interprétations multiples qui passe par une reconception du graphe, considéré comme un processus analytique se prêtant à diverses lectures au fil du temps.
APA, Harvard, Vancouver, ISO, and other styles
20

McGorray, Ian. "Ferdinand Ries and the Piano Concerto: Beethoven's Shadow and the Early Romantic Concerto." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439296816.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

LEE, HSIAOPEI. "THE HISTORY OF VIOLA TRANSCRIPTIONS AND A COMPREHENSIVE ANALYSIS OF THE TRANSCRIPTION FOR VIOLA AND PIANO OF BEETHOVEN'S VIOLIN SONATA OP. 30, NO. 1." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115956595.

Full text
APA, Harvard, Vancouver, ISO, and other styles
22

Cox, Owen. "The interpretation of unusual dynamic markings in Beethoven's string quartet in Bb Major, Op. 130 : a study of selected twentieth-century recordings." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/100042/.

Full text
Abstract:
This study takes as its stimulus the unusual dynamic markings in Beethoven’s String Quartet, Op. 130. Presenting an immediate interpretational problem for performers this leads to questions of execution and how this influences the character of the music. Whilst both analysts and performers use evocative metaphors to describe musical character, the explication of how this is achieved through performance has been little explored in academia. The study focuses on the intersection between metaphors found in the literature surrounding Beethoven’s late quartets and the performance choices made in eight renowned string quartet recordings. The ambiguity of Beethoven’s late style and unusual nature of his dynamic indications offer a fascinating case study of this intersection. The methodology uses metaphor as an analytical frame work through which discussions about performance decisions take place, suggesting one metaphor or another, usually in a spectrum of variations. This sees dynamics as a potential stimulus for manipulation of not just volume, but also vibrato, rubato, articulation, portamento and other factors often framed by the choice of tempo. Different treatments of these performance techniques suggest varying metaphorical characterisations. These are summarised through verbal descriptions of the performer’s choices with reference to the score. Chapter 1 focuses on two awkward dynamic markings that dominate the first movement: the hairpin crescendo to piano and rapid alternations of forte and piano in fast music. Chapter 2 focuses on hairpin swells which create not only unusual disruptions in the middle movements but also expansive lyricism in the Cavatina movement. Chapter 3 moves from localised dynamic markings to longer passages which are characterised by unusual dynamic stasis and descriptive terms in the Cavatina. This study shows how these dynamics have been interpreted in many different ways, through the variety and interaction of a number of different performance techniques. Far from establishing fixed definitions for these dynamics, this opens up possibilities for more expressive freedom for performers, not less.
APA, Harvard, Vancouver, ISO, and other styles
23

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/.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
24

Tiraterra, Alessandra. "Early Nineteenth Century German Idealism and Historical Perspectives in Beethoven's Eroica Variations, Op. 35." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/447712.

Full text
Abstract:
Music Performance
D.M.A.
This study argues that the dialectic and the metamorphosis of the basso del tema and tema in Beethoven’s Eroica Variations, Op. 35 mirror the stages of the philosophical thought of German Idealism. The philosophical systems of the post-Kantian generation were housed in the values of the Goethezeit, in which the concept of self was regarded as fundamental for the worldview. In Germany these systems generated a new intellectual ethos that merged cultural nationalism with the glorification of the self (Burnham). Beethoven’s music gave reliable expression to the values of the Goethezeit, depicting the self as a spiritual entity with a constitutive autonomy, a possibility for self-transcendence, and a fundamental condition of struggle for freedom. While research has focused on Beethoven’s heroic style (Broyles) and the philosophy of his music (Adorno), there is very little literature on the relationship between Beethoven’s music and the philosophical thought of the time. In 1930 Schenker discussed the use of the Eroica theme in the Eroica Variations (Marston): first, the material is stated in its simple form; then, rhythmic structure, dynamics, tempo, texture, and key transform it. Schenker considers the large-movement form rather than the theme, giving emphasis to the basso del tema. This study proposes an analysis of Op. 35–focusing first on the first fourteen variations and then on the fifteenth variation and on the fugue individually–as the musical statement of the philosophical thought of the Goethezeit and offers a discussion on the historical perspectives in Op. 35. Then, the study applies the proposed philosophical and historical analysis of the Eroica Variations to explain how an interpretation based on critical theory can help concert performers develop a deeper understanding of such a demanding piece of repertoire. Finally, the study examines the Eroica Variations as one of the most substantial concert pieces for piano by Beethoven and of the beginning of the nineteenth century, and offers suggestions on how to meet the musical and technical challenges of the piece.
Temple University--Theses
APA, Harvard, Vancouver, ISO, and other styles
25

Moon, JeeHyung. "Ludwig Van Beethoven's Sonata for cello and piano in F major Op. 5, No. 1: an analysis and a performance edition." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4881.

Full text
APA, Harvard, Vancouver, ISO, and other styles
26

HUNG, YU-SUI ESTHER. "BEETHOVEN'S VARIATIONS WoO 76, OPP. 34, 35, AND 120: A COMPARATIVE ANALYSIS BETWEEN AND AMONG." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1172509997.

Full text
APA, Harvard, Vancouver, ISO, and other styles
27

Robb, Hamish James Alexander. "Organicism, motivic parallelism, and performance in Beethoven's piano sonata op. 2 no. 3 : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in Musicology /." ResearchArchive@Victoria e-Thesis, 2008. http://hdl.handle.net/10063/944.

Full text
APA, Harvard, Vancouver, ISO, and other styles
28

Murphy, Eliana Maria. "An Analytical Comparison of the Variation Movement from Ludwig van Beethoven's Piano Sonata in E Major, Op. 109 to Johann Sebastian Bach's Aria mit verschiedenen Veranderungen, BWV 988 ("Goldberg Variations")." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377870823.

Full text
APA, Harvard, Vancouver, ISO, and other styles
29

Robb, Hamish James Alexander. "Organicism, motivic parallelism, and performance in Beethoven's piano sonata Op. 2 No. 3 : a thesis submitted to the New Zealand School of Music in fulfillment of the requirements for the degree of Master of Music in Musicology." Massey University, 2008. http://hdl.handle.net/10179/1000.

Full text
Abstract:
This thesis summarises the important ideologies and concepts of musical organicism in the late eighteenth century and applies them to motivic analysis and performance. Much has been written about the organic nature of Beethoven’s later works, but less has been written about the organic coherence found in his earlier compositions. This study involves a motivic analysis of his Op. 2 No. 3 sonata (1795), for which little or no significant research has been carried out. This musical work is used as an illustration of ways in which musical organicism, motivic analysis, and performance can interrelate. The thesis is in three parts. Part one presents a review of late eighteenth-century ideologies of unity and their musical applications. In the search for an effective means of comparing motivic development with organicism, it is then argued that Schenker’s ‘motivic parallelism’ or ‘concealed repetition’ is considerably undervalued in his analytical framework. Drawing on the insights of Richard Cohn, I endorse a more autonomous treatment of the motivic parallelism in analysis, so that it is an independent unifying tool in its own right and not only a by-product of tonal analysis. Several approaches are applied to the motivic parallelism in order to illustrate how the parallelism can be used in ways normally only associated with the surface motif. Part two of the thesis consists of a detailed motivic analysis of Beethoven’s Op. 2 No. 3 sonata. It is argued that the motivic parallelisms contained in this sonata reflect late eighteenth-century ideals of organicism. I propose that there are several motivic cells found in the opening four bars of the sonata, which recur (or are ‘paralleled’) within all structural levels and over all four movements, unifying the sonata organically as one whole. In this way, I show that the Op. 2 No. 3 sonata can be seen to foreshadow the organic treatment of motifs by later composers, who were influenced by Goethe’s complex prototype (1802) as an organic model.(1) I also offer an ‘organic narrative’ for the sonata, using motivic parallelisms as the guiding forces in the discourse. The third and final part relates the motivic parallelisms and other analytical findings to performance. Techniques of ‘performing’ motivic parallelisms are discussed and applied to the Op. 2 No. 3 sonata. The organic perspective is proposed as one avenue through which to understand and enhance a performance of a work. (1) The sonata can also be seen to foreshadow the highly seminal treatment of motifs that was to become more widely used in Beethoven’s later works (such as the Eroica Symphony).
APA, Harvard, Vancouver, ISO, and other styles
30

Inman, Michael V. "An examination of Beethoven's Sonata for piano and violoncello, Op. 5 No. 1, Boccherini's Concerto in B-flat Major for cello, Bach's Suite no. 3 for unaccompanied Violoncello in C Major, and Inman's Suite for Unaccompanied Violoncello in C-sharp Minor." Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/866.

Full text
APA, Harvard, Vancouver, ISO, and other styles
31

Jaakkola, Joel. "Beethovens valthorn : En undersökning av valthornets utveckling." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4016.

Full text
Abstract:
Ludwig van Beethoven (1770-1827) skrev 1800 sin sonat för valthorn op. 17 åt den legendariske hornisten Giovanni Punto (1746-1803). Vi har länge vetat att stycket egentligen är skrivet för naturhorn men vad det egentligen innebär har för många hornister inklusive mig själv länge varit relativt oklart. Det jag har försökt lyfta i denna studien är hur viktigt det egentligen är för tolkningen att man tar hänsyn till vilket instrument stycket är komponerat för. För att genomföra detta har jag använt en stor mängd litteratur om både kompositören och samtida hornister och läroböcker av hornister som levde kring årtalen som verket komponerades. Resultatet visar en insikt i många positiva aspekter med att använda sig av ett naturhorn men även problem som uppstår då man väljer att tolka stycket på detta viset. Det som blivit uppenbart är att man inte nödvändigtvis måste spela stycket på naturhorn utan att man kommer ganska långt med en medvetenhet om hur stycket skulle ha fungerat på ett naturhorn.

Ljudfil Beethoven hornsonat op 17. Joel Jaakkola naturhorn och Johan Ullén piano. 

APA, Harvard, Vancouver, ISO, and other styles
32

Redcay, Andrea. "Theobald Boehm and the History of the Alto Flute, Including the Facsimile Edition of His Arrangement of Beethoven's Largo From the Concerto for Piano, Op. 15, No. 1 for Alto Flute and Piano (C. 1858), With Three Recitals of Selected Works by Griffes, Telemann, Bartok, Jolivet, Gaubert and Others." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935677/.

Full text
Abstract:
An historical perspective of Theobald Boehm (1794-1881) and his design of the modem alto flute. Chapters I and II discuss the development of design, playing technique and repertoire of the ancestors of the modem alto flute beginning with the Renaissance consorts detailed in the treatises of Agricola, Praetorius and Mersenne, through the Baroqueflate d'amour and its use in the music of J.S. Bach, to Boehm's alto flute design (c. 1855) and its use in early twentieth-century orchestral and chamber repertoire such as Stravinsky's Le Sacre du Printemps (1911), ending with specific aspects of contemporary alto flute design and manufacture since 1950, including the innovations of Dutch flutemaker Eva Kingma. Chapters III and IV concentrate on Boehm's mechanical and acoustical developments for the concert flute in C, the resulting modem alto flute in G, and his career as a virtuoso flutist, teacher, and composer. Chapter V is a critical commentary on Boehm's arrangement of Beethoven's Largo from the Concerto for Piano, Op. 15, No. 1 for alto flute and piano (c. 1858). Appendices A and B include the facsimile of the unpublished Largo manuscript and a list of Boehm's works for alto flute.
APA, Harvard, Vancouver, ISO, and other styles
33

Lindgren, Mikael. ""The King of Concertos" : Ludwig van Beethoven, violinkonsert i D-dur, op. 61." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2453.

Full text
APA, Harvard, Vancouver, ISO, and other styles
34

Lee, Hee Seung. "The "Beethoven Folksong Project" in the Reception of Beethoven and His Music." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/lee_hee_seung/index.htm.

Full text
APA, Harvard, Vancouver, ISO, and other styles
35

Burke, Devin Michael. "BEETHOVEN DEAF: THE BEETHOVEN MYTH AND NINETEENTH-CENTURY CONSTRUCTIONS OF DEAFNESS." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1270267092.

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

Verster, François. "Language on music : Beethoven, Mann and the absolute." Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/17531.

Full text
Abstract:
Bibliography: 190-197.
This dissertation investigates the general use of language on instrumental music. Three types of linguistic usage are identified: the metamusical, the systemic, and the metasystemic. In the first section, various forms of the metamusical - description, attempts at "recreation" and formal analyses of music - are considered, and are all shown to fail in different ways. The limitations of existing systems for negotiation between language and music are also brought to the fore. Failure is redefined, and shown to be intrinsically related to the tradition of musical ineffability, which finds its most extreme development in the notion of "absolute music". The second section attempts to provide a systemic discourse which takes the failure of language into account. Drawing on Lacan's imaginary/symbolic distinction and on Derrida's notion of the frame, it sets forth a construct called "the word of music", which is itself an impossible point of aspiration, but which manages to account for some of the dialectical complexities involved in systemic negotiation with a non-denotative form such as music. The third section entails metasystemic analysis proper; in other words, metamusical and systemic sources are analyzed and assessed. This part consists of a passage-by-passage translation of eight pages from Thomas Mann's Doctor Faustus, in which the fictional character Wendell Kretschmar delivers a lecture on and performance of Beethoven's Opus 111. Various metamusical and systemic issues are discussed: it is shown that Mann draws on a large number of established musicoliterary traditions, with his sources ranging from early Beethoven biographies to the writings of Theodor Adorno. Particular attention is given to the Romantic "Beethoven myth" and to Adorno's analysis of the composer's late music. Mann's negotiation between two partly opposing trends in the presentation of Opus 111 as an "ultimate" or "absolute" composition - the one based in a Romantic discourse of musical transcendence and the other originating in Adorno's identification of a tendency towards alienation in Beethoven's late style - is extensively discussed.
APA, Harvard, Vancouver, ISO, and other styles
37

Lejonklou, Martin. "Presto i en tidig Beethovensonat : En jämförande analys av notbild och andra pianisters inspelningar, som verktyg i egen lärandeprocess." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84767.

Full text
Abstract:
Syftet med denna studie är att formulera ny kunskap om analysens betydelse, till nytta för egen lärandeprocess. Första satsen ur Beethovens sjunde pianosonat står i fokus, där jag undersöker hur ett tvådelat analysverktyg utvecklar egen musikalisk gestaltning vid instrumentet; analys avdels notbild, dels en jämförande analys av fem olika inspelningar med erkända pianister. Urvalet inspelningar är baserat på variation i fråga om karaktär och inspelningsår, för att söka nå en vid syn på hur Beethovens sats interpreterats genom de senaste 75 åren. Analysen av notbild består av ackord- och funktionsanalys samt en beskrivning av satsens sonatform, vidare hur teman och motiv används i musiken. Den jämförande analysen utgörs av en studie utvalda takter ur olika delar av satsen, med fokus på fyra parametrar: tempo, rubato, artikulation och dynamik. Trots att jag inte är helt nöjd med min inspelning, menar jag att arbetets helhet ändå uppfyller uppsatsens syfte. Studiens resultat visar att analysen av notbild samt den efterföljande jämförande analysen, hjälper mig få en mångfacetterad syn på satsen, såväl avseende helheten som på detaljnivå. Den kontrasterande karaktären av de valda interpreternas ljuddokument, och deras olika förhållningssätt till musiken, ger mig ett brett spektrum av intryck och uttryck, från vilka jag kan hämta inspiration i egen lärandeprocess. För ännu bättre förståelse av denna musik, skriven för tidigare klaverinstrument än en modern konsertflygel, identifierar jag ett nödvändigt behov av att själv använda ett fortepiano vid musikalisk gestaltning av Beethovens tidiga pianomusik. Vid sådant instrument kan lärandeprocessen på ett än mer naturligt sätt ta sin utgångspunkt i uppförandepraxis, som instrumentet ger tekniska och klingande förutsättningar till. Själva instrumentet blir en pedagog. Inriktningen på mina stundande master-studier klarnar!
APA, Harvard, Vancouver, ISO, and other styles
38

Georgiades, Rebecca. "Mozart, Beethoven, and Tschaikovsky: Their rich heritage of music." CSUSB ScholarWorks, 1992. https://scholarworks.lib.csusb.edu/etd-project/617.

Full text
APA, Harvard, Vancouver, ISO, and other styles
39

Frisch, Walter. "Historicist Modernism in Reger’s Bach and Beethoven Variations." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2017. https://ul.qucosa.de/id/qucosa%3A32333.

Full text
Abstract:
The term ‘historicist modernism’ refers to the way Reger – distinctively among his contemporaries in the years around 1900 – forges a contemporary musical language from a distinctive engagement with the music of the past, especially the works of Johann Sebastian Bach, Ludwig van Beethoven, and Johannes Brahms. In this essay, I will focus especially on two major works of Reger, the Variations and Fugue on a heme of Bach, op. 81, and the Variations and a Fugue on a Theme of Beethoven, op. 86, both from 1904.
APA, Harvard, Vancouver, ISO, and other styles
40

Ellison, Paul Martin. "The key to Beethoven : connecting tonality and meaning in his music." Thesis, Cardiff University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540489.

Full text
Abstract:
My interest in the connection between tonality and meaning in Beethoven's music arose when writing a graduate paper on the use of key characteristics in Mozart's Don Giovanni and Beethoven's Fidelio. In the course of my research, I observed a remarkable correlation between key and tonal affect, and found myself questioning whether this would hold true for all of Beethoven's vocal music, and, if so, might also be applicable to his untexted instrumental works. An initial survey of Beethoven's complete solo song output, in order to ascertain if a firm connection between tonality and affective meaning could be established, proved to be extremely fertile, paving the way for the inception of this thesis. The Introduction outlines a justification for revisiting the concept of meaning in Beethoven's music. Chapter One builds the historical case for Beethoven's knowledge of key characteristics, examining materials with which he was familiar, his own views, and various anecdotal evidence. Chapter Two presents a survey of the keys employed by Beethoven, using evidence from contemporary writers, theorists, and composers to establish congruency of affective meaning. The ironic usage of tonal affect is discussed, and the supposed paradox of keys having more than one affective meaning explained. Beethoven's establishment of new affective uses of certain keys is also detailed. Chapters Three to Five identify the significant body of empirical evidence which connects tonality and meaning in an examination of the solo songs, revealing the strong nexus between textual meaning and choice of key in almost all cases. Certain ancillary features are also used as supporting evidence, including movement headings, descriptive titles, dynamics, interval structure, and harmonic vocabulary. The concepts of the `affective spectrum', `affective modulation', `affective tonicization', `affective modality' and `depictive harmony' are introduced and applied to the music. Chapter Six examines five case studies from vocal and choral music with orchestral accompaniment, in order to illustrate how tonal symbolism can function in a wider variety of contexts in Beethoven's oeuvre. Finally, Chapter Seven presents an instrumental case study, the Piano Sonata in D Minor, Op. 31, No. 2, applying the semiotic of affect established earlier as the principal tool for deconstructing meaning in this work. This thesis demonstrates through a combination of historical and empirical evidence that, in most instances, Beethoven does employ tonality in an affective way in his vocal music, paving the way for an examination of his instrumental music for the nexus between tonality and meaning.
APA, Harvard, Vancouver, ISO, and other styles
41

Wallbaum, Christopher. "Der außeraustralische Beethoven oder: Klassik in der Schule." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-63569.

Full text
Abstract:
Der Beitrag geht (in Abschnitt I) von zwei allgemeinen Ununterrichtbarkeitsthesen zu der Frage aus, ob und wie ‚Klassik‘ in der Schule unterrichtet werden kann, und entfaltet einen Lösungsansatz aus einer Perspektive ästhetisch-kultureller Edukation, der es darum geht, verschiedene musikalische Praxen erfahrbar zu machen. Die Grundannahmen dieser Perspektive werden in Abschnitt II zusammenfassend dargstellt. Das Wort „außeraustralisch“ soll eine kulturelle Außenperspektive auf die europäische Klassik signalisieren. Im Zentrum des Beitrags (Abschnitt III) steht eine „didaktische Interpretation klassisch-romantischer Musikkultur“, der es um die Formulierung charakteristischer Qualitäten dieser Musik bzw. Musikkultur geht. Als exemplarisch für deren Nachvollziehen erscheint eine Entwicklung von informeller über konventionalisierte und halböffentliche Hausmusik hin zum Konzert. Die entsprechenden Erfahrungsqualitäten bilden den Angelpunkt für die Gestaltung der Unterrichtspraxis. Mit drei abschließenden Inszenierungsskizzen für charakteristische Qualitäten (Abschnit IV) macht der Text einen Schritt weg von der wissenschaftlich geleiteten Analyse hin zur ästhetisch interpretierenden Gestaltung. Insgesamt stellt der Beitrag am Beispiel der Klassik exemplarisch ein allgemeines musikpädagogisches Herangehen dar
The article starts (in part I) from two theses about the impossibility of teaching classical music in the classroom and shows a solution to do so. Part II outlines the actual perspective, which is based on music and music education as and for aesthetical and cultural practice. The word “außeraustralisch” (out of australia) indicates a perspective at classical music from a foreign point of view. The crucial part III claims “characteristic qualities” as the main reference point to stage musical practice in the classroom and developes characteristical qualities of classical-romantic music in a “didactic interpretation of classical-romantic culture of music”. The development from an informal to a conventionalized and half public Hausmusik up to public concerts appears to be generic to comprehend special attitudes and concepts of this kind of music. Part IV goes one step further towards an aesthetical interpretation of classical music as it creates three drafts, which outline how to stage music in such a way, that makes characteristic qualities of classical music perceptible in the classroom. Altogether the article uses the classical music in the classroom as an exemple for a general music pedagogical approach
APA, Harvard, Vancouver, ISO, and other styles
42

Grajter, Małgorzata. "Małgorzata Grajter, Relacje słowno-muzyczne w twórczosci Ludwiga van Beethovena [The characteristics of music-text relationships in Ludwig van Beethoven’s output] (Dissertationes Lodzienses de Musicae Theoria 3), Łódz: Akademia Muzyczna im. Grazyny i Kiejstuta Bacewiczów [2015], 274 S., Abb., polnisch, ISBN 978-83-60929-46-9 [Zusammenfassung]." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2016. https://ul.qucosa.de/id/qucosa%3A16198.

Full text
APA, Harvard, Vancouver, ISO, and other styles
43

Borisavljevic, Danica. "Piano recital consisting of works by J. S. Bach, L. Van Beethoven and F. Chopin with extended program notes." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/1735.

Full text
APA, Harvard, Vancouver, ISO, and other styles
44

Alessandri, Elena. "Evaluating recorded performance : an investigation of music criticism through Gramophone reviews of Beethoven piano sonata recordings." Thesis, Royal College of Music, 2014. http://researchonline.rcm.ac.uk/352/.

Full text
Abstract:
Critical review of performance is today one of the most common professional and commercial forms of music written response. Despite the availability of representative material and its impact on musicians' careers, there has been little structured enquiry into the way music critics make sense of their experience of performances, and no studies have to date broached the key question of how music performance is reviewed by experts. Adopting an explorative, inductive approach and a novel combination of data reduction and thematic analysis techniques, this thesis presents a systematic investigation of a vast corpus of recorded performance critical reviews. First, reviews of Beethoven's piano sonata recordings (N = 845) published in the Gramophone (1923-2010) were collected and metadata and word-stem patterns were analysed (Chapters 3 and 4) to offer insights on repertoire, pianists and critics involved and to produce a representative selection (n = 100) of reviews suitable for subsequent thematic analyses. Inductive thematic analyses, including a key-word-in-context analysis on 'expression' (Chapter 5), were then used to identify performance features (primary and supervenient) and extra-performance elements critics discuss, as well as reasons they use to support their value judgements. This led to a novel descriptive model of critical review of recorded performance (Chapters 6, 7, and 8). The model captures four critical activities - evaluation, descriptive judgement, factual information and meta-criticism - and seven basic evaluation criteria on the aesthetic and achievement-related value of performance reliably used by critics, plus two recording-specific criteria: live-performance impact and collectability. Critical review emerges as a highly dense form of writing, rich in information and open to diverse analytical approaches. Insights gained throughout the thesis inform current discourses in philosophy of art and open new perspectives for empirical music research. They emphasise the importance of the comparative element in performance evaluation, the complexity and potentially misleading nature of the notion of 'expression' in the musical discourse, and the role of critics as filters of choice in the recording market. Foremost, they further our understanding of the nature of music performance criticism as a form of reasoned evaluation that is complex, contextual and listener specific.
APA, Harvard, Vancouver, ISO, and other styles
45

Carr, Cassandra Irene. "Wit and humor as a dramatic force in the Beethoven piano sonatas /." Thesis, Connect to this title online; UW restricted, 1985. http://hdl.handle.net/1773/11223.

Full text
APA, Harvard, Vancouver, ISO, and other styles
46

Worsley, Kris. "Investigating the influence of Christian Gottlob Neefe on the music of Ludwig van Beethoven." Thesis, University of Manchester, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.679252.

Full text
APA, Harvard, Vancouver, ISO, and other styles
47

Bishop, David Martin. "Chromatic and diatonic pitch-class motives and their influence on closural strategies : analytical studies of three middle-period string quartets of Ludwig van Beethoven /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

Full text
APA, Harvard, Vancouver, ISO, and other styles
48

Price-Brenner, Kevin. "Pedagogical transcriptions for teaching two advanced works for cello : Beethoven’s Sonata for cello and piano no. 3 in A major, op. 69 and Haydn’s Cello concerto no. 1 in C major, Hob.VIIb.1." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2131.

Full text
Abstract:
Advanced cello students and their studio teachers have a wide range of literature to study and perform that spans approximately 400 years. Despite this wealth of repertoire, advanced music from the classical era is often understudied or overlooked due to difficulties of the accompanying part, written either for the piano or the orchestra. For example, Beethoven’s cello sonatas tend to be avoided by teachers of advanced young students because of the difficulties in securing a pianist. Additionally, Haydn’s cello concerti demand a great deal of rehearsal time with an experienced pianist in preparing the student to perform with a full ensemble. The purpose of this study is to provide pedagogical assistance to the cello studio teacher of advanced students. This detailed teaching edition reduces the original accompaniment into a single cello part to be played by the studio teacher during lessons. The transcriptions do not replace the music written for the piano, but functions as a three-part pedagogical bridge: teaching the student the solo; accompanying the student in the cello reduction; and preparing the student to play with the accompaniment as originally conceived. The two compositions presented in this aid are Beethoven’s Sonata for Cello and Piano No. 3 in A major, Op. 69 and Haydn’s Cello Concerto No. 1 in C major, Hob. VIIb.1. This practical study will refer to An Annotated Translation of Evegeny Shenderovich’s Overcoming Technical Difficulties in the Piano Transcriptions of Orchestral Scores by Marcelina Turcanu.
APA, Harvard, Vancouver, ISO, and other styles
49

Ding, Yang. "First Movement of the Beethoven Third Piano Concerto: An Argument for the Alkan Cadenza." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc799505/.

Full text
Abstract:
The goal of this dissertation is not only to introduce the unique cadenza by Alkan but also to offer an argument from the performer’s point of view, for why Alkan’s cadenza should be considered when there exists a cadenza by Beethoven himself, not to mention those by a number of other composers, both contemporaries of Beethoven and later. Information in reference to the brief history of the cadenza and the pianoforte in the time of Mozart and Beethoven is presented in Chapter 2. A brief bibliography about Alkan is presented in Chapter 3. Chapter 4 describes not only the cadenza in the era of Alkan, but also a comparison which is presented between Beethoven and Alkan's cadenzas. Examples of the keyboard range, dynamic contrast, use of pedal and alternating notes or octaves, and creative quote are presented in Chapter 4. In conclusion, the revival of Alkan's cadenza is mentioned, and the author's hope to promote the Alkan's cadenza is presented in Chapter 5.
APA, Harvard, Vancouver, ISO, and other styles
50

Kolesnikov, Inna. "Master's piano recital." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/477.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Beethoven's music' for other source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography