Relevant bibliographies by topics / Beethoven, Ludwig van, 1770-1827. Works

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  2. Dissertations / Theses
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Academic literature on the topic 'Beethoven, Ludwig van, 1770-1827. Works'

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Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Beethoven, Ludwig van, 1770-1827. Works"

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Wolf, P. "Creativity and chronic disease Ludwig van Beethoven (1770-1827)." Western Journal of Medicine 175, no. 5 (November 1, 2001): 298. http://dx.doi.org/10.1136/ewjm.175.5.298.

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Perciaccante, Antonio, and Alessia Coralli. "The Silent Symphony of Ludwig van Beethoven (1770-1827)." American Journal of Medicine 133, no. 6 (June 2020): 768. http://dx.doi.org/10.1016/j.amjmed.2019.12.047.

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García Laborda, José María. "Beethoven en L’Associació de Música “Da Cámera” de Barcelona (1913-1936)." Cuadernos de investigación musical, no. 11 (December 15, 2020): 145–94. http://dx.doi.org/10.18239/invesmusic.2020.11.09.

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La finalidad de este trabajo es analizar la presencia de la música de Ludwig van Beethoven (1770-1827) en la Asociación de Música de Cámara de Barcelona (1913-1936). Al mismo tiempo, se pretende comparar los resultados de esta investigación con los datos que ya poseemos de la sociedad gemela en Madrid: La Sociedad Filarmónica (1901-1936), para así aportar nuevos datos sobre la historia de la recepción de Beethoven en España en el primer tercio del siglo XX.
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Sánchez Rodríguez, Virginia. "Prólogo de la coordinadora del número." Cuadernos de investigación musical, no. 11 (December 15, 2020): 3–4. http://dx.doi.org/10.18239/invesmusic.2020.11.02.

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El año 2020 pasará a la historia por haber sufrido la primera pandemia del siglo xxi, pero también será recordado por el ingente programa cultural dedicado a Ludwig van Beethoven (1770-1827) con motivo del 250 aniversario de su nacimiento. De acuerdo con esta efeméride, Cuadernos de Investigación Musical ha dedicado un monográfico extraordinario que, con una mirada poliédrica, y a través del trabajo de musicólogos de referencia del ámbito internacional, invita al lector a aproximarse al legado de Beethoven.
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Stiefelhagen, P. "Mozarts Geist aus Haydns Hönden Zum 175. Todestag von Ludwig van Beethoven (1770–1827)." Der Internist 43, no. 4 (April 2002): 567–70. http://dx.doi.org/10.1007/s00108-002-0584-y.

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Monteiro, Eduardo, and Mônica Lucas. "“O espírito de Mozart pelas mãos de Haydn”: 250 anos de Ludwig van Beethoven." Estudos Avançados 34, no. 100 (December 2020): 341–66. http://dx.doi.org/10.1590/s0103-4014.2020.34100.021.

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resumo Ao celebrar os 250 anos do nascimento de Ludwig van Beethoven (1770-1827), constata-se que sua obra preserva, intacto, o poder de fascinar seus ouvintes. Sua competência única coincidiu extraordinariamente com um momento histórico em que foram protagonizadas profundas mudanças estéticas, o que lhe permitiu alcançar uma posição fulcral no desenvolvimento da música ocidental. O conde Waldstein, um de seus protetores, declarou em 1792: “você receberá o espírito de Mozart pelas mãos de Haydn” (apud Rosen, 1997, p.19). Beethoven, de fato, empregou os processos herdados de seus mestres, incorporando a eles procedimentos novos e criativos que permitiram à sua música expressar uma gama de emoções muito mais ampla. O presente artigo assinala alguns aspectos musicais que colaboram para a compreensão da rara dimensão alcançada pelo compositor, abordando sua produção no contexto da música instrumental a partir do final do século XVIII.
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Floros, Constantin. "La Séptima de Beethoven: la segunda Eroica." Cuadernos de investigación musical, no. 11 (December 15, 2020): 5–14. http://dx.doi.org/10.18239/invesmusic.2020.11.03.

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El presente artículo está centrado en el estudio de la Séptima Sinfonía de Ludwig van Beethoven (1770-1827) y en sus semejanzas estilísticas con la Sinfonía nº3, por lo puede ser considerada como una segunda Sinfonía Eroica. Para ello se ha tenido en consideración las circunstancias que dieron lugar a su creación, así como las opiniones de contemporáneos del autor como Czerny y Ries o las visiones de Wagner y Mahler. El autor defiende asimismo que han pasado desapercibidas otras similitudes con obras de carácter heroico: la Danza eroica nº 8 del ballet “heroico-alegórico” Las Criaturas de Prometeo op. 43 y la variación en sol menor del “Finale” de la propia Sinfonía Eroica (1803). Asimismo se ha tenido en cuenta la influencia ejercida por los acontecimientos políticos de su tiempo en el origen deobras como La victoria de Wellington.
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BYROS, VASILI. "LUDWIG VAN BEETHOVEN (1770–1827) THE LATE QUARTETS Quatuor Mosaïques Naive V5445, 2017; three discs, 188 minutes." Eighteenth Century Music 16, no. 1 (February 14, 2019): 76–79. http://dx.doi.org/10.1017/s147857061800043x.

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Cooper, Barry. "LUDWIG VAN BEETHOVEN (1770–1827), ED. JON CEANDER MITCHELL PIANO CONCERTO IN E FLAT MAJOR WoO 4 Recent Researches in the Music of the Classical Era80Middleton: A-R, 2010 pp. xii+99, ISBN978 0 89579 665 3." Eighteenth Century Music 9, no. 1 (January 27, 2012): 133–35. http://dx.doi.org/10.1017/s1478570611000443.

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"“Retrato de Ludwig van Beethoven”, 1770-1827." Revista Médica Clínica Las Condes 26, no. 2 (March 2015): 259. http://dx.doi.org/10.1016/j.rmclc.2015.04.018.

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Dissertations / Theses on the topic "Beethoven, Ludwig van, 1770-1827. Works"

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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.

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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.
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Seelig, Timothy. "Six Odes by C.F. Gellert set by C.P.E. Bach and Ludwig van Beethoven: A Comparative Analysis, a Lecture Recital Together with Three Recitals of Selected Works by Monteverdi, Caldara, Mozart, Brahms, Mendelssohn, Ives, Honegger, and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331707/.

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The lecture recital was given on July 13, 1987. The discussion of the poetry by C. F. Gellert and the musical settings by C. P. E. Bach and Ludwig van Beethoven including analyses of all the pieces was followed by their performance. In addition to the lecture recital, three other public recitals were given: three of solo literature for voice and piano and one of vocal chamber literature. These included the works of Monteverdi, Caldara, Mozart, Brahms, Strauss, Mendelssohn, Ives, Honegger, Debussy, Faure", and others. All of these recitals were recorded on magnetic tape and filed along with the written version of the lecture material as a part of the dissertation.
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Hein, Hartmut. "Beethovens Klavierkonzerte : Gattungsnorm und individuelle Konzeption /." Stuttgart : F. Steiner, 2001. http://catalogue.bnf.fr/ark:/12148/cb37712750q.

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Brisson, Élisabeth. "Le sacre du musicien : place et fonction de la référence à l'antiquité dans la processus créateur de Beethoven." Paris, EHESS, 1997. http://www.theses.fr/1997EHESA038.

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Les premiers chapitres sont consacres aux origines et au contenu de la culture antique de beethoven (plutarque et d'homere furent parmi ses auteurs preferes). Sa representation de l'antiquite eut une fonction essentielle dans son processus createur : plus qu'un signe d'appartenance a l'elite cultivee, elle lui a permis de soutenir l'audace de son geste createur et de se penser comme un artiste ayant un role a jouer dans le monde (son ideal etait de "venir en aide a l'humanite souffrante"). Beethoven disposa de sa culture antique de maniere tres personnelle, n'en retenant que certaines valeurs : la melancolie, condition du genie, la figure du heros et celle du grand homme, agents de la transformation du monde, l'amitie fondatrice du lien social, la fonction sacree du poete. La reference a l'antiquite (en tant que metaphore de certaines valeurs politiques et morales et de certains principes esthetiques) a accompagne l'elaboration et l'evolution de son ecriture et lui a permis de soutenir une conception nouvelle de la musique. Heros a la plutarque avant d'etre un nouveau promethee civilisateur, il s'attacha a trouver la forme qui correspondrait a sa conception de la musique : manierede vivre et moyen d'obtenir une transformation interieure, sur le modele de la philosophie antique. La fonction sacree de guider l'humanite sur la voie du bonheur a confere a ses oeuvres une organisation musicale qui repond aux categories ethiques et esthetiques elaborees, a la fin du 18ʿsiecle, a partir du modele antique (grandeur, simplicite, liberte, etc. ). Si la place de la reference a l'antiquite semble peu importante (quelques oeuvres seulement portent un titre antique), elle est en fait essentielle au regard des principes et des valeurs qui sous-tendent son processus createur. La fonction de l'antiquite est primordiale, en tant que metaphore d'une oeuvre musicale qui se veut l'equivalent de l'oeuvre d'homere : une source de bildung, lieu et moyen d'initiation.
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Gechter, Friedrich Charles. "Execution or interpretation? a study of interpretive approaches through selected editions and recordings of Beethoven's Sonata, opus 109 /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035944.

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Lagoumitzis, Nicolas. "Les sonates pour piano de Beethoven : regard sur l'évolution de l'interprétation des op. 2 N1, op. 53 et op. 111au XXème siècle." Paris 1, 1998. http://www.theses.fr/1998PA010588.

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Ce travail est une étude historico-esthétique de l'interprétation des sonates pour piano de Beethoven, fondée sur la comparaison d'enregistrements réalisés au cours de diverses périodes du XXeme siècle. Selon la méthodologie adoptée - l'analyse interprétative comparée - nous relevons les options interprétatives de chaque exégète lors de sa lecture "personnelle" de ce corpus beethovenien considéré dans sa matérialité "objective". Nous essayons de dégager les perspectives esthétiques des artistes-interprètes en tenant compte des différentes périodes de composition des sonates, des différentes époques de leur interprétation et, de plus, de l'influence de la tradition interprétative du XIXeme siècle, comme de l'esthétique de certains courants d'art du XXeme siècle, sur les options exégétiques des pianistes. Les œuvres (op. 2 n01, op. 53 et op. 111) ont été choisies en tant que représentatives et révélatrices des trois périodes de la création beethovenienne entre classicisme et romantisme. Les interprètes (Artur Schnabel, Claudio Arrau, Tatiana Nikolayeva, Friedrich Gulda et Michael Levinas) possèdent tous des formations musicales distinctes car ils appartiennent à des écoles pianistiques européennes majeures aux fondements différents. Pour chacun d'entre eux, nous avons choisi le moment correspondant à l'enregistrement de l'intégrale des sonates pour piano, afin d'obtenir, grâce à leur comparaison, des éléments représentatifs de l'évolution de l'esthétique pianistique au XXème siècle
The present thesis is a historical-aesthetic study of the interpretation of Beethoven's piano sonatas. As such, it is based on the comparison of certain recordings during different periods within the 20th century. Through the methodology we e adopted -the comparative interpretative analysis- we reveal each artist's interpretative choice, consistent with his "individual" reading of beethoven's piano sonatas "corpus". We have strived to uncover the aesthetic perspectives of the artists taking into account the different chronological periods of the creation and interpretation of the sonatas, as well as the influence of the 19th century interpretative tradition and 20th century aesthetic currents, on the artists' interpretative preferences. The works (op. 2 n01, op. 53 and op. Ill) were selected as being representative and revealing of the three periods of beethoven's creation between "classicism" and "romanticism". The interpreters (Artur Schnabel, Claudio Arrau, Tatiana Nikolayeva, Friedrich Gulda and Michael Levinas) possess a remarkable musical education, especially as they all belong to grand european piano schools, each being characterized by different founding principles. Each artist has recorded beethoven's piano sonatas in their entirety. These complete recordings provided the chronological framework against which our comparisons were made. Our ultimate aim has been to capture those unique elements reflecting the evolution of piano- playing aesthetics in the 20th century
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Praxedes, Karina da Silva Santana. "An die ferne Geliebte, Op.98 de L. V. Beethoven : a relação texto-musica e o acompanhamento pianistico." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285123.

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Orientadores: Adriana Giarola Kayama, Antonio Rafael dos Santos
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Resumo: Este trabalho tem como objetivo verificar a relação texto-música, particularmente no acompanhamento pianístico do ciclo de canções An die ferne Geliebte de Ludwig van Beethoven (1816). Após uma contextualização histórica da obra, discursadas questões como o desenvolvimento do Lied, os lieder de Beethoven, o poeta Alois Isidor Jeitelles e o piano da época, bem como relacionadas as diferenças nas edições da obra utilizadas, foi necessária uma análise do ciclo, por meio do estudo de vários elementos musicais - texto poético, número dos compassos, extensão vocal, tonalidade, forma, andamento, estrutura Taseológica, harmonia, ritmo, dinâmica, timbre, textura - que, além de possibilitar uma definição clara das relações entre texto e música, evidencia a importância expressiva do piano nesse ciclo de canções, viabilizando, ainda, a discussão de aspectos interpretativos do mesmo - andamento, articulação e sonoridade, ornamentação, dinâmica, pedal e recursos para o cantor
Abstract: This work intends to verify the relation between text and music, particularly in the piano accompaniment of the Beethoven's song cycle An die ferne Geliebte (1816). Given a historical context of the piece, the development of the Lied and Beethoven's lieder, the poet Alois Isidor Jeitelles, and the specifications of the piano of the Classic Period, as well as related the differences in some editions of this piece. An analysis of the song cycle was made, by means of the study of some musical elements -poetic text, number of the measures, vocal range, tonality, form, tempo, phrasal structure, harmony, rhythm, dynamics, timbre, texture - which, besides making possible a clear definition of the relations between text and music, showed the expressive importance of the piano in this song cyc1e, allowing some considerations of its interpretative aspects - tempo, articulation and sound quality, omamentation, dynamics, pedaling and resources for the singer
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Lin, Shen-An. "The Lieder of Beethoven: A Stylistic Analysis." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc500227/.

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Beethoven is generally acknowledged to be the most important composer of the 19th century. However, many critics and musicologists dismiss Beethoven's Lieder as being of less musical value and sophistication than his more instrumentally conceived late vocal writings. The true musical sophistication of Beethoven's Lieder can be discovered by a careful study of the harmonic structure and the relationship between the vocal and the piano part in Beethoven's Lieder. In discussing Beethoven's Lieder style based on analysis, a number of aspects shall be examined: (1) the harmonic idiom and key relationships; (2) the role of the piano; and (3) other stylistic features.
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Cobra, De Oliveira Maximianno. "Les symphonies de Ludwig van Beethoven : une étude analytique, critique et historique en vue d'une nouvelle édition." Paris 4, 2000. http://www.theses.fr/1999PA040191.

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Ce travail se propose de mettre en évidence les matériaux, les principes et quelques-uns des choix essentiels que nous semblerait devoir assumer une véritable Edition critique des symphonies de Beethoven, titre auquel aucune des éditions actuelles, même les plus récentes, ne peuvent prétendre. Une première partie d'ordre historique énonce quelques éléments et principes essentiels d'une approche objective féconde de l'époque de Beethoven. Illustration de notre méthode et échantillon de ce que devrait à nos yeux inclure une future Edition critique intégrale des symphonies de Beethoven, la seconde partie présente une étude critique complète de la cinquième symphonie ; l'étude du quatrième mouvement de la IXème symphonie; enfin une étude des indications textuelles de Beethoven concernant la VIème symphonie. La troisième partie dresse l'inventaire des documents musicaux et biographiques. En abordant par ces prismes la problématique de l’édition musicale des œuvres de Beethoven, nous espérons pouvoir réunir les éléments nécessaires à l'établissement d'un outil de travail utile aux éditeurs scientifiques, afin qu'ils puissent prétendre établir un texte éditorial proche de celui qu'eut pu souhaiter Beethoven.
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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.

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Books on the topic "Beethoven, Ludwig van, 1770-1827. Works"

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Beethoven and the Grosse Fuge: Music, meaning, and Beethoven's most difficult work. Lanham, Md: Scarecrow Press, 2010.

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Rumph, Stephen C. Beethoven after Napoleon: Political romanticism in the late works. Berkeley: University of California Press, 2004.

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Robinson, Paul A. Ludwig van Beethoven, Fidelio. New York: Cambridge University Press, 1996.

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Beethoven essays. Cambridge, Mass: Harvard University Press, 1988.

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Solomon, Maynard. Beethoven essays. Cambridge, Mass: Harvard University Press, 1988.

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Solomon, Maynard. Beethoven essays. Cambridge, MA: Harvard University Press, 1994.

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Kinderman, William. Beethoven. 2nd ed. Oxford: Oxford University Press, 2009.

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Eberhardt, Klemm, ed. Biographie von Ludwig van Beethoven. 4th ed. Leipzig: P. Reclam, 1988.

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Beethoven, Pastoral symphony. Cambridge: Cambridge University Press, 1995.

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Beethoven, Missa solemnis. Cambridge, [England]: Cambridge University Press, 1991.

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Book chapters on the topic "Beethoven, Ludwig van, 1770-1827. Works"

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Hartung, Günter. "Beethoven, Ludwig van (1770–1827)." In Goethe Handbuch, 100–102. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03655-1_32.

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"Beethoven, Ludwig Van (1770–1827)." In Encyclopedia of Genetics, Genomics, Proteomics and Informatics, 200–201. Dordrecht: Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-6754-9_1656.

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Kozbelt, A. "Ludwig van Beethoven 1770–1827." In Encyclopedia of Creativity, 128–34. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-12-375038-9.00023-6.

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