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Journal articles on the topic 'Beethoven, Ludwig van, Musical analysis'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Berezutsky, V. I., and M. S. Berezutska. "Sonification of cardiac arrhythmias in the Beethoven’s music, or «The heartfelt music of Ludwig van Beethoven»-2." Ukrainian Journal of Cardiology 26, no. 2 (2019): 63–75. http://dx.doi.org/10.31928/1608-635x-2019.2.6375.

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Researchers S. Vaisrub, B. Lüderitz, T.O. Cheng, Z.D. Goldberger et al. in different years (1980–2014) discovered the similarity of the rhythmic figure of the fragment of Ludwig van Beethoven’s piano sonata op. 81a «Les adieux» with an auscultative and electrocardiographic picture of ventricular premature beats. This allowed them to assume that the composer expressed in music his own irregular heartbeat. The hypothesis is very relevant, since sonification (the use of non-speech audio to convey information) of biological signals has a long history and is actively developing both in music and in

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2

Panasiuk, Valerii. "“The fest of the forward culture”. Ludwig van Beethoven’s anniversary in the “Land of Soviets”." Aspects of Historical Musicology 23, no. 23 (2021): 196–209. http://dx.doi.org/10.34064/khnum2-23.13.

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The problem field of the study. The celebration of the anniversary of a historical personality gives a meaningful assessment of this person in a particular period from the point of dominant ideological paradigm, indicates his place in a particular socio-cultural space and his significance in the artistic context. This is proved by the celebration of the 200th anniversary of the birth of L. van Beethoven in the Federal Republic of Germany. In the seventies of the 20th century, at the turn of the decade, the reputation of the classical composer as a “sacred figure of spiritual culture” became a

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3

Hadžić, Fatima. "Beethoven’s Anniversary in Sarajevo in 1927." Studia Musicologica 61, no. 1-2 (2021): 129–47. http://dx.doi.org/10.1556/6.2020.00010.

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In 1927, Europe marked the centennial of the death of one of its greatest composers, Ludwig van Beet ho ven. At the same time, Bosnia and Herzegovina within the Kingdom of Serbs, Croats and Slovenes (later the Kingdom of Yugoslavia) was building the foundations of its musical institutions and trying to follow up with the more advanced cultural centers of the new state, Zagreb, Ljubljana, and Belgrade. The main feature of Bosnian musical life of the time (1918–1941) pertains to the establishment of the new musical institutions such as the National Theater (Narodno pozorište) and the Sarajevo P

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4

Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.

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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct o

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5

Rademacher, Wiebke. "Beethoven's Leonore in Berlin around 1900: On Contextual Factors of Music Performances as Source Material for Past Emotional Practices." Cultural History 7, no. 2 (2018): 167–86. http://dx.doi.org/10.3366/cult.2018.0172.

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The last decades have seen a steady increase of historians and historical musicologists whose research focuses on concert audiences and music performances. While previous research on music predominantly dealt with the analysis of works, their ‘great’ composers, and musical styles, now musical events and their audiences have more and more come into consideration. Scholars have tried, for instance, to explain how the ascending bourgeoisie influenced various parameters of concert life in the eighteenth and nineteenth century. They have examined changing behavioural patterns of the audience (Mülle

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6

Lychner, John A. "An Empirical Study Concerning Terminology Relating to Aesthetic Response to Music." Journal of Research in Music Education 46, no. 2 (1998): 303–19. http://dx.doi.org/10.2307/3345630.

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This study was designed to determine if a relationship exists among the terms “aesthetic response, ” “felt emotional response, ” and “perceived tension ” when used by individuals to describe their personal response to music. Subject groups, music majors (n = 128) and nonmusic majors (n = 128), were randomly divided into three experimental groups, one for each term, and one control group for free response. Data were gathered as subjects manipulated the dial of the Continuous Response Digital Interface (CRDI) to indicate the magnitude of their response to the musk heard during four taped listeni

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7

Vasic, Aleksandar. "Music in Serbian literary magazine and Yugoslav ideology." Muzikologija, no. 4 (2004): 39–59. http://dx.doi.org/10.2298/muz0404039v.

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It is worth noting that the important journal of the history of Serbian literature and music, the Serbian Literary Magazine (1901 - 1914, 1920 1941), became more Yugoslav-oriented within a relatively short period following its inception. From its early beginning to 1906, the Magazine?s musical critics did not actively express its Yugoslav ideology. But from 1907 there was an increase of interest in both the music and the musicians from Croatia and Slovenia. In 1911 the Croatian Opera spent almost two weeks in Belgrade performing; the composer and musicologist, Miloje Milojevic began to develop

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8

Jacobshagen, Arnold. "Beethoven im „Brockhaus“." Die Musikforschung 74, no. 3 (2021): 210–28. http://dx.doi.org/10.52412/mf.2021.h3.3004.

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Full-length biographies about Ludwig van Beethoven were not published until after the composer's death. During his lifetime, biographical articles in dictionaries and encyclopaedias were therefore a particularly important source of information, since general encyclopaedias achieved a much wider circulation than specialist music publications. The first entry on Beethoven appeared as early as 1790 in Ernst Ludwig Gerber's Historisch-Biographisches Lexicon der Tonkünstler. The most widely read encyclopaedia for the educated middle class was the Conversations-Lexicon oder enzyklopädisches Handwört

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9

Capdepon Verdú, Paulino, and Juan José Pastor Comín. "Prólogo." Cuadernos de investigación musical, no. 11 (December 15, 2020): 1–2. http://dx.doi.org/10.18239/invesmusic.2020.11.01.

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Desde el CIDoM (Centro de Investigacion y Documentación Musical), organismo dependiente de la UCLM y Unidad Asociada al CSIC, hemos querido sumarnos al homenaje que se ha tributado a nivel internacional al compositor alemán Ludwig van Beethoven con motivo del 250 aniversario de su nacimiento en Bonn. Y lo hemos efectuado intentando singularizar la aportación española mediante varios medios: la publicación de una monografía, publicada en 2020 en Tirant lo Blanc, considerada la más prestigiosa editorial académca española según SPI (Scholarly Publishers Indiactors), y titulada Beethoven desde Esp

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10

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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11

Firaza, Joanna. "Beethoven and His Music in the Plays of Gert Jonke." Tekstualia 3, no. 42 (2019): 63–72. http://dx.doi.org/10.5604/01.3001.0013.4417.

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Gert Jonke’s concern with music can be seen as a continuation of the modernist critique of language and concomitant exploration of its possibilities. Musical inspirations, from the biographies of composers to specifi c musical forms and structures, broaden the scope of literary art. A common theme of Jonke’s works under discussion is the life and achievement of Ludwig van Beethoven. Jonke’s plays Gentle Rage (1990) and Choir Phantasy (2003) explore the dissonance between idea, metaphorized as striving for absolute art, and matter, as it emanates from the mundane reality. Jonke combines romanti

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12

Jeremic-Molnar, Dragana, and Aleksandar Molnar. "Schubert and Beethoven - Adorno’s early antipods of the music in bougeois epoch." Filozofija i drustvo 23, no. 3 (2012): 221–36. http://dx.doi.org/10.2298/fid1203221j.

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In this article the authors are reconstructing the dichotomies which the young Theodor Adorno was trying to detect in the music of the bourgeois epoch and personify in two antipodes - Franz Schubert and Ludwig van Beethoven. Although already a devotee of Arnold Sch?nberg and the 20th century music avantgardism, Adorno was, in his works prior to his exile from Germany (1934), intensively dealing with Schubert and his opposition towards Beethoven. While Beethoven was a bold and progressive revolutionary, fascinated by the ?practical reason? and the mission to rise up and reach the stars, Schuber

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13

Heine, Christiane. "Dos homenajes a Beethoven: los cuartetos de Pere Tintorer (1814-1891) y Quintín Esquembre (1885-1965)." Anuario Musical, no. 75 (December 28, 2020): 61–91. http://dx.doi.org/10.3989/anuariomusical.2020.75.04.

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El presente estudio constituye una aportación a la historia de la recepción de Ludwig van Beethoven en España durante la segunda mitad del siglo XIX y primer tercio del siglo XX, con especial atención a la creación musical, centrándose —dentro del marco del contexto histórico-musical del período— en dos composiciones camerísticas, una de Pere Tintorer (1814-1891) y otra de Quintín Esquembre (1885-1965). Ambos títulos se refieren explícitamente, en la portada de las respectivas partituras, al músico alemán, por lo cual se plantea la cuestión de cómo los dos españoles llevaron a cabo su aproxima

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14

Goehr, Lydia. "Did Bach Compose Musical Works? Thinking with Adorno through Paradigms of Possibility." New German Critique 48, no. 1 (2021): 1–39. http://dx.doi.org/10.1215/0094033x-8732131.

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Abstract This essay presents Theodor W. Adorno’s case pro and contra the regulation of the work-concept in a tradition that long sustained a great 1800 divide. The case is made through the provocation offered in Lydia Goehr’s Imaginary Museum of Musical Works that “Bach did not intend to compose musical works.” The essay investigates the many references to Johann Sebastian Bach in Adorno’s aesthetic, social, and philosophical writings to show that his Bach case was not merely illustrative but paradigmatic of every case he made for a critical theory of possibility. Adorno’s case was an urgent m

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15

Higgins, Paula. "The Apotheosis of Josquin des Prez and Other Mythologies of Musical Genius." Journal of the American Musicological Society 57, no. 3 (2004): 443–510. http://dx.doi.org/10.1525/jams.2004.57.3.443.

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Within the theoretical framework of Roland Barthes's writings on myth and ideology, this essay seeks to expose the historical legitimation project through which the mythmaking, universalizing rhetoric of musical genius that has long surrounded the figure of Ludwig van Beethoven came to infiltrate scholarship on Josquin des Prez, culminating in his late twentieth-century apotheosis. Contextualizing the composer's reception history with respect to the debates between Joseph Kerman and Edward Lowinsky in 1965 and especially the 1971 Josquin Festival-Conference, the author suggests that the ideolo

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16

Kauffman-Ortega, E., and M. A. Valdovinos-Díaz. "In memoriam Ludwig van Beethoven. Clinical history and possible diagnoses of the genius of musical composition in silence." Revista de Gastroenterología de México (English Edition) 85, no. 4 (2020): 375–78. http://dx.doi.org/10.1016/j.rgmxen.2020.10.006.

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17

Kauffman-Ortega, E., and M. A. Valdovinos-Díaz. "In memoriam Ludwig van Beethoven. Historia clínica y posibles diagnósticos del genio de la composición musical en el silencio." Revista de Gastroenterología de México 85, no. 4 (2020): 375–78. http://dx.doi.org/10.1016/j.rgmx.2020.07.003.

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18

Saglietti, Benedetta. "Fifth Symphony by Ludwig van Beethoven According to Version by Ernst Theodor Amadeus Hoffmann." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 197–207. http://dx.doi.org/10.31318/2522-4190.2021.130.231272.

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The purpose of the article is to characterize the research of its author entitled “Beethoven’s Fifth Symphony in the version of E. T. A. Hoffmann. In the kingdom of infinity” (Saglietti B. La quinta sinfonia di Beethoven recensita da E. T. A. Hoffmann. Nel regno dell’infinito), published in Turin in 2020. The monograph presents new scientific works on the creative heritage by L. van Beethoven; the events having taken place after the first performance of the composer's Fifth Symphony are considered; its musicological analysis, written by E. T. A. Hoffman in 1810, is characterized; its place and

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19

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

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Abstract As Nathan Waddell has recently argued of the literary modernists whose aesthetic incorporation of the Beethovenian legend complicates the dominant view of modernism as an antitraditionalist enterprise, Ludwig van Beethoven’s music has in fact left a more significant and complicated mark on African American literature relating to the sublime properties of his musical aesthetic than has previously been recognized. As a point of departure, I apply Michael J. Shapiro’s definition of the racial sublime as a confrontation with the “still vast oppressive structure that imperils black lives”

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20

Davitadze, А. G. "Ukrainian song «Ikhav Kozak za Dunaj» arranged by L. van Beethoven for piano trio and voice: genre and stylistic metamorphoses." Aspects of Historical Musicology 13, no. 13 (2018): 60–73. http://dx.doi.org/10.34064/khnum2-13.05.

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The scientifi c fi eld of the problem «folklore and composer» has a lot of aspects of its subject manifestation. One of them is the creative heritage of L. van Beethoven in the context of the composer’s addressing the folk song sources and analysis of the author’s arrangement. Although the selected theme is not a scientifi c discovery, it contains signifi cant prospects. These include: the expansion of a well-known typology of the folklore embodiment in the author’s work, the search and discovery of the Beethoven’s method of folklore arrangement, which in its turn complements the context of th

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21

Medvednikova, Tatiana. "THE DRAMATURGY OF THE SONATA CYCLE BY L. VAN BEETHOVEN (on the example Sonata № 3 С-dur оp. 2)". Музикознавча думка Дніпропетровщини, № 18 (13 листопада 2020): 84–92. http://dx.doi.org/10.33287/222019.

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The purpose of the article is to analyze and develop stylistic features of L. Beethoven's sonata cycle for a more accurate reproduction of the play's dramaturgy. The following research methods are used in the work the next. There are historical and cultural approach (research and analysis of works dedicated to L. Beethoven's creative heritage); method of comparative style analysis and general system-structural approach (comparing the problem of the era and its development); the traditional method of source studies as a historical discipline (the work is based on existing sources). Scientific n

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22

Vasic, Aleksandar. "The reception of west European music in Belgrade between world wars: On the examples of “Muzicki glasnik” and “Muzika” magazines." Muzikologija, no. 11 (2011): 203–18. http://dx.doi.org/10.2298/muz1111203v.

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The very first music magazines started in Belgrade between World Wars were ?Muzicki glasnik? (issued monthly from January to December 1922) and ?Muzika? (also issued monthly in the period January 1928 - March 1929). These magazines used to publish music essays, researches, debates, notes, news and other kind of articles. This paper brings an analysis of texts on West European music in these two journals. ?Muzicki glasnik? published only few articles on European music. Those were on bibliographical news concerning editions on musicology in England and on French music magazines. There was a repo

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23

Lynnyk, M. S. "Rostislav Genika: performer, teacher, composer." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 39–54. http://dx.doi.org/10.34064/khnum1-54.03.

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Under consideration are various facets of the creative work of Rostislav Genika, a comprehensively educated musician, universally gifted personality, one of the founders of the Kharkov piano school. The research is based on the study of critical reviews of R. Genika’s and his students’ concerts. Under analysis is the main genre of R. Genika as a composer and pianist – a transcription represented by the piece “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. Rostislav Genika (1859 – 1942?) focused on piano art,

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24

Erfurth, Andreas. "Ludwig van Beethoven—a psychiatric perspective." Wiener Medizinische Wochenschrift, August 2, 2021. http://dx.doi.org/10.1007/s10354-021-00864-4.

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SummaryBiographical accounts of famous artists usually try to relate the life story to the works (and vice versa). This gives the work a special “colour”, often the context for understanding for today’s recipients. This interrelation is complex and often judgmental, sometimes manipulative. Thus, medical (including psychiatric), characterological and psychodynamic assessments and interpretations must be made with great caution. Primary sources may be scanty and diagnostic concepts may have changed (Mozart died of hitzigem Frieselfieber [prickly heat fever]; in Hölderlin’s lifetime, schizophreni

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25

Berezutsky, Vladimir, and Maryna Berezutska. "Thermo-Mineral Baths in the First Half XIX Century: The Case of Ludwig Van Beethoven." Physikalische Medizin, Rehabilitationsmedizin, Kurortmedizin, June 19, 2020. http://dx.doi.org/10.1055/a-1191-4586.

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Abstract Background The great German composer Ludwig van Beethoven suffered almost all his life from progressive deafness and diseases of the digestive system. The state of his health strongly influenced his work. Balneotherapy is the only aspect of Beethoven’s disease history that has not yet been thoroughly studied. While water treatment in the first half of the XIX century was the most important part of the therapeutic arsenal of doctors and was actively used in the treatment of Beethoven. Objectives To study the use of thermo-mineral baths in the treatment of Ludwig van Beethoven in the fi

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26

Galon, Lucas Eduardo Da Silva. "Sobre Beethoven, O Silêncio de Hegel." Revista da Tulha 5, no. 2 (2019). http://dx.doi.org/10.11606/issn.2447-7117.rt.2019.164253.

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É amplamente reconhecida a magnitude que ganhou a música como objeto do pensamento filosófico no século XIX. Mesmo compositores, antes considerados na condição de artesãos, tornaram-se pensadores influentes, na esteira da importância da música no pensamento de grandes filósofos. Ludwig van Beethoven (1770-1827) se destaca como pioneiro de uma tendência que culminará na relevância adquirida por Richard Wagner para a história da filosofia: no século XIX os mais importantes filósofos darão certa primazia à estética – incluindo a musical – há pouco organizada como disciplina. É o caso de G. W. F.

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27

Zhou, Zhengchang. "Disposal of Dynamics of Piano Sonatas—Analysis Based on Piano Sonatas of Ludwig van Beethoven." DEStech Transactions on Social Science, Education and Human Science, icsste (May 10, 2017). http://dx.doi.org/10.12783/dtssehs/icsste2017/9393.

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28

Aitken, Leslie. "Mr. Mergler, Beethoven, and Me by D. Gutnick." Deakin Review of Children's Literature 9, no. 2 (2020). http://dx.doi.org/10.20361/dr29483.

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Gutnick, David. Mr. Mergler, Beethoven, and Me. Illustrated by Mathilde Cinq-Mar. Toronto: Second Story Press, 2018. In this lovely picture book, David Gutnick explores an episode in the life of Canadian music teacher, Daniel Mergler. The first person narrator of the story is a musically gifted young girl whose family has emigrated from China. Like many immigrant families, hers is struggling financially; there is no money for music lessons. By chance, the girl and her father meet Mr. Mergler during a pleasant outing in a park. The encounter leads to the child’s musical instruction and, a

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29

Zinkiv, Iryna. "With regard to an instruction on a topic «Complex Binary Form» within the «Musical Works Analysis» course." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2019, 30–45. http://dx.doi.org/10.33398/2310-0583.2019.44.30.45.

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The article deals with arelevant issues of instructing the topic «Complex Binary Form», which is read within «Musical Works Analysis» lecture coursein the higher educational institutions of Ukraine of III – IV levels of accreditation. Given that this is one of the most complex form in the structure of the course, it is attributed to the understudied ones, although quite branched by the number of varieties. The investigations poses a question of the form definition, genesis, morphology, scope of application in the genres of vocal and instrumental music. Its structural specificity and semantic-s

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