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Relevant bibliographies by topics / Beethoven op. 16

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Journal articles
Dissertations / Theses

Academic literature on the topic 'Beethoven op. 16'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Beethoven op. 16"

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Kutluieva, Dar’ia. "PIANO QUARTETS OF L. BEETHOVEN: MOZART’S PROTOTYPES AND AUTHOR’S INITIO." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 9–22. http://dx.doi.org/10.34064/khnum1-58.01.

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Background. The article provides an analysis of L. Beethoven’s piano quartets through the prism of the ensemble writing and composition experience by W. A. Mozart. The disclosure of the successive ties between the two great Viennese classics in the field of chamber instrumental music contributes to the scientific understanding of the history of this genre, which is not sufficiently covered in musicology. The analysis revealed that the four piano quartets of L. Beethoven are focused on Mozart’s prototypes, or rather, on sonatas for violin and piano. It was found that the formative principles of

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2

Kutluieva, Daria. "Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era." Aspects of Historical Musicology 16, no. 16 (2019): 143–57. http://dx.doi.org/10.34064/khnum2-16.08.

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Background. Nowadays, the typology of the piano quartet is actively studied by the modern scientists. The genesis of this genre is becoming more contentious. As pointed out by L. Tsaregorodtseva (2005), and earlier I. Byaly (1989), a connection of concerts for clavier solo accompanied by a string ensembles and a string quartet form a foundation for a genre of the piano quartet. N. Samoilova (2011) sees the origin of this genre in ensembles with clavier, L. Tsaregorodtseva (2005) &#8210; in the historical and cultural situation of the last third of the 18th century, including the genre (str

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Dissertations / Theses on the topic "Beethoven op. 16"

1

Gratton, J. Brian (John Brian). "Three Motivic Topics in Beethoven's Piano Quintet, Op. 16." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278612/.

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The first movement of the Piano Quintet, Op. 16 of Ludwig van Beethoven works out three significant motivic "topics": a chromatically filled-in second, appearing first as 5 - #5 - 6 (Bb - B - C in Eb major); the emphasis om the submediant, both as vi in Eb major and as the tonal region of C minor; and the melodic interval of the sixth, which, when inverted to become a descending third, determines the structure of tonal regions at crucial points in the movement. These three motivic topics are introduced in the opening measures of the piece and are subsequently unfolded throughout the movement;

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2

Zajkowski, Roberta. "The Piano and Wind Quintets of Mozart and Beethoven: Reception and Relationship." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275422871.

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3

Britton, Jason Grant 1972. "Harmony, voice leading, and motive in Beethoven's last quartet." Thesis, University of Oregon, 2008. http://hdl.handle.net/1794/8150.

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xiii, 188 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>Beethoven's last five string quartets have engaged the imagination and curiosity of performers, listeners, and critics at a level that has rarely been touched in the world of chamber music, or beyond. Throughout the late quartets' history, musicians have scrutinized the works in search of a logic that might demystify their stylistic and structural peculiarities. This present study continues this pursuit as it examines analytically (through Schenker

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4

LIN, YI-CHING, and 林宜靜. "The Exploration of Classical Piano Quintet Works – Mozart’s Piano Quintet (KV. 452) and Beethoven’s Piano Quintet (op. 16)." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/4762t6.

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碩士<br>東吳大學<br>音樂學系<br>107<br>This thesis explores and researches the two piano and woodwind quintets of Mozart and Beethoven. The source of the piano quintet is explored from the origin of the woodwind instrument and the development of the chamber music. 　　　　In 1784, Mozart completed the piano and woodwind quintet (KV. 452), which Mozart mentioned in his letter to his father after the premiere of this piece that he thought it was the best work he had ever composed. Beethoven wrote the piano and woodwind quintet (op. 16) in 1796. At the premiere, Beethoven played the piano part himself. The fi

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