Tesis: "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 Beethovens 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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2

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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3

Hein, Hartmut. "Beethovens Klavierkonzerte : Gattungsnorm und individuelle Konzeption /". Stuttgart : F. Steiner, 2001. http://catalogue.bnf.fr/ark:/12148/cb37712750q.

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4

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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5

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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6

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
A biblioteca do IA possui CD-ROM
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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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8

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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9

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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10

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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11

Esclapez, Christine. "Sémiotique musicale et figuration : la complexité temporelle des Quatuors à cordes de Beethoven". Aix-Marseille 1, 1992. http://www.theses.fr/1993AIX10003.

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Premier esprit moderne, ludwig van beethoven apparait, a la fin du dix-huitieme siecle et au tout debut du dix-neuvieme, comme l'agent privilegie d'une mutation. Cette transformation, musicale et anthropologique, se manifeste par l'intauration de sensibilites temporelles nouvelles, inscrites dans la phenomenologie intime de la forme musicale et etudiees a partir de la matier signifiante - a la fois homogene et hybride- que constituent ces dix-sept quatuors a cordes. Cette mutation met en evidence la variabilite historique des formes de la pensee sensible et ecarte ainsi tout inneisme et tout universalisme qui tenteraient d'expliquer l'activite creatrice par un quelconque lien causal. La decouverte des indices temporels dans les quatuors, c'est-a-dire, des inscriptions de ces mutations temporelles dans la matiere sensible decoule d'une pragmatique du texte ou le reseau de signigiance de l'oeuvre resulte d'un dechiffrement inferant, a partir de realites donnees, un systeme de sens. L'observation phenomenologique des quatuors nous a permis de relever deux-cent-vingt-trois moments temporels dont l'interpretation, elaboree a partir de l'analyse formelle des similitudes de bernard vecchione (1985), prouve l'existence d'une grammaire calculable de la temporalite dans les quatuors et en propose une elaboration modulaire le champ des connaissance s'elargit pour accueillir le sensible comme une forme de pensee non verbale aussi structuree et signifiante que les formes de pensee verbale. La temporalite comme semiosis met en evidence une representation possible, logique et calculable, de la sensibilite.

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12

Laurent, Guy. "Beethoven et le style classique". Paris 8, 1997. http://www.theses.fr/1997PA081395.

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Etude stylistique de la musique de beethoven visant a mettre en evidence ses particularites par rapport aux deux autres grands compositeurs classiques - haydn et mozart, dont certaines oeuvres sont egalement etudiees -, et mettant en relation ces pratiques musicales avec les structures de pensee du xviiie siecle, tant dans la domaine de la theorie musicale que dans ceux des sciences - sciences naturelles, entre autres - et de la philosophie
Study in stylistics of beethoven's works trying to show his characteristics related to the two other great classical composers - haydn and mozart, from whom a few piecess are also studied -, and relating these musical choices to the thinking structures of the eighteenth century, in musical theory as in science - natural science, for example -and philosophy

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13

Fournier, Bernard. "Beethoven et la modernité". Paris 8, 1993. http://www.theses.fr/1993PA080776.

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L'oeuvre de beethoven s'inscrit dans une perspective esthetique de progres (innovation, progression du discours), de raison (architecture de la forme, unite) et de depassement (transgression, transcendance). C'est a travers l'emancipation des parametres de l'ecriture relatifs a l'espace, au temps et a l'energie que se manifeste surtout l'esprit de modernite : beethoven explore de nouvelles possibilites expressives (c'est ce que montrent nos analyses desstructures et du materiau d'oeuvres cle) en exploitant les attributs spatiaux de l'ecriture dans leur statique (position, densite), comme dans leur dynamique (vectorisation, circulation entre les voix). Il elabore un systeme de modulations de tempo, fait inter ferer des ordres temporels differents, reproduit le geste de l'improvisation au sein des formes les plus structurees : arborescent et polymorphe, le temps beethovenien est un temps moderne dans sa tentative d'echapper a la linearite. Une poetique des intensites donne a l'oeuvre tout son sens et son elan, qu'il procede de l'energie dramatisante (style heroique style tragique), de l'energie de debordement (catastrophe, jubilation dionysienne) ou de l'energie spirituelle (transcendance, stase). Avec son maillage intertextuel, ses incrustations heterogenes, l'oeuvre de beethoven etablit un systeme ouvert de communication. Recourant a la rupture, a la distanciation, elle offre une resistance nouvelle a l'analyse
Beethoven's work can be seen in an easthetic perspective of progress (innovation), of reason (unity) and transcendence (transgression). This is seen through the emancipation of the parameters related tospace, time and energy, which reveal in beethoven's style the spirit of modernity, which has been analysed here by using the material and structures of the key works. Beethoven is able to explore new expressive possibilities by exploiting not only these spatial attributes in their static form (position), but also their dynamic form (vectorisation, circulation between voices). He develops a system of modulation, juxtaposing differing temporal orders and introducing an improvisatory gesture in the midst of the most structured forms. Arborescent and polymorphous, beethoven's time is a modern time in his attempt to escape linearity. It is through a poetry of intensities and rhythmic effervessence that a work finds its impulse whether in the form of dramatic energy (tragic style, heroic style) or spiritual energy (transcendence, stasis). With its intertextual patterns and heterogeneous incrustatons, beethoven's work establishes an open system of communication, andby its use of sudden rupture and distancing this music presents a new form of resistance to analysis

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14

Buch, Estebán. "La Neuvième symphonie de Beethoven et la construction de l'identité Européenne". Paris, EHESS, 1997. http://www.theses.fr/1997EHESA011.

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Ce travail explore le statut symbolique de l'image et la musique de beethoven dans l'histoire politique de l'europe, jusqu'a l'adoption en 1985 de la melodie de l'ode a la joie comme hymne officiel de la communaute europeenne. Deux modes de constitution de l'imaginaire social par l'intermediaire de la musique sont notamment consideres : le mythe du heros-musicien d'une part, les genres des musiques politiques de l'autre, aussi bien que leur interaction paradigmatique dans le cas de beethoven et de sa reception. La recherche se developpe en trois moments. La premiere partie decrit la naissance de l'hymne national moderne, avec le god save the king, la marseillaise, et le gotti erhalte franz den kaiser de haydn, pour deboucher sur l'analyse des rapports de beethoven avec la musique d'etat al'epoque du congres de vienne, et du poids de cette experience sur la rhetorique musicale de la neuvieme symphonie. La deuxieme partie retrace le parcours du mythe romantique de beethoven, en s'arretant sur certains moments commemoratifs -l'erection de sa statue a bonn en 1845, le centenaire de 1927- qui concentrent la dimension politique de la production et reproduction du canon de la musique classique. La troisieme partie concerne le role de l'ode a la joie au sein des formations etatiques du xxe siecle, notamment en tant que symbole de l'"idee europeenne" a partir de l'hymne de pan-europe de 1929, incluant un chapitre sur son utilisation en 1974 comme hymne national de la rhodesie. Il s'agit en somme d'un travail interdisciplinaire qui peut etre decrit comme un chapitre d'histoire sociale de la musique ou comme une contribution a l'etude des symboles politiques. Les references bibliographiques - en francais, anglais et allemand - proviennent de la musicologie, de l'histoire et de la sociologie, sans oublier le recours a des sources documentaires inedites.

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15

Allio, Guy. "Mozart-Schubert-Beethoven : filiations". Bordeaux 2, 1989. http://www.theses.fr/1989BOR23069.

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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.

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17

Gentile, Juliano Matteo [UNESP]. "Fragmento e montagem em Mauricio Kagel: uma análise de Ludwig Van". Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/95127.

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Essa pesquisa é fruto de uma interface entre música e filosofia. Trata-se de analisar o filme Ludwig van, de Mauricio Kagel, realizado em 1970 por ocasião do bicentenário de Beethoven, a partir de dois aspectos pouco conhecidos da teoria de Theodor Adorno, que aparecem sobretudo em seus últimos textos. O primeiro diz respeito a um certo uso do fragmento que está ligado à identificação com materiais musicais do passado fetichizados, não como uma retomada, mas com um uso crítico, onde os resquícios tonais aparecem como ruínas. O segundo refere-se a um redimensionamento da questão da reprodutibilidade técnica em Adorno e aponta para as possibilidades críticas da montagem cinematográfica através dos recursos da justaposição e da ruptura temporal. Ludwig van, ao fazer uma colagem com obras de Beethoven, alterando timbres e andamento, reúne esses dois aspectos.
This research springs from an interface between Music and Philosophy. It is an analysis of the film Ludwig van, by Mauricio Kagel, produced in 1970 on the occasion of the bicentenary of Beethoven; the analysis is based upon two premises not widely known within the theoretical corpus of Theodor Adorno, which are especially conspicuous in his last writings. The first is concerned with a usage of fragment that is bound to identification with fetishized musical material from the past, not for recovery, but instead recused with a deep sense of critics, where tonal reminiscences appear as ruins. The second is concerned with a reshaping of the question dealing with technical reproducibility in Adorno and points out to the critic possibilities of cinematographic montage through the resources of juxtaposition and temporal rupture. The film Ludwig van, by undertaking a collage with the Beethoven works, altering timbres and tempo, brings these two ideas together.

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Shigeta, Ayumi. "Interpretação pianística historicamente imformada = subsídios analíticos para uma execução das Bagatelas op. 126 de Ludwig van Beethoven". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284948.

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Orientadores: Eduardo Antonio Conde Garcia Junior, Mauricy Matos Martin
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação trata de questões referentes à interpretação pianística contemporânea e à importância de sua aproximação com a história. Para tanto, primeiramente, elaborou-se um breve estudo de duas concepções interpretativas opostas, mostrando os prós e os contras de cada uma delas, a saber, a da execução histórica ou historicamente autêntica, representada pelo movimento da Música Antiga, e a da abordagem atemporal ou anti-histórica da interpretação, dita também "pós-moderna", tributária do estruturalismo. A seguir, combinaram-se as duas, resultando na perspectiva de interpretação aqui defendida, à qual se denomina "historicamente informada". Igualmente procede-se a uma análise focada na execução da última obra para piano de Beethoven, as Bagatelas op.126, mostrando como um músico prático pode valer-se da história para aperfeiçoar sua interpretação. A metodologia de análise baseou-se nos livros Beethoven on Beethoven: playing his piano music his way de William S. Newman e Performance Practices in Classic Piano Music de Sandra P. Rosenblum
Abstract: This dissertation is about questions concerning to the contemporary piano interpretation and the importance of its approximation to history. So, firstly, a brief study on two opposite interpretative conceptions was prepared showing the pros and cons of each one of them, namely the historical or historically authentic performance, represented by the Ancient Music movement, and the atemporal or antihistorical approach of performance, also called "post-modern", tributary of structuralism. Next, both of them were combined resulting in the performance prospect here defended, so named "historically informed". Then, an analysis focused on the last Beethoven piano pieces, the six Bagatelles op.126, was carried out, showing how a practical musician can make use of history in order to improve his performance. The analytic methodology is based on the books Beethoven on Beethoven: playing his piano music his way by William S. Newman and Performance Practices in Classic Piano Music by Sandra P. Rosenblum
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19

Graf, Benjamin. "An Analytical Study of Paradox and Structural Dualism in the Music of Ludwig van Beethoven". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849697/.

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Beethoven's rich compositional language evokes unique problems that have fueled scholarly dialogue for many years. My analyses focus on two types of paradoxes as central compositional problems in some of Beethoven's symphonic pieces and piano sonatas. My readings of Beethoven's Piano Sonata No. 27 (Op. 90), Symphony No. 4 (Op. 60), and Symphony No. 8 (Op. 93) explore the nature and significance of paradoxical unresolved six-four chords and their impact on tonal structure. I consider formal-tonal paradoxes in Beethoven's Tempest Sonata (Op. 31, No. 2), Ninth Symphony (Op. 125), and Overture die Weihe des Hauses (Op. 124). Movements that evoke formal-tonal paradoxes retain the structural framework of a paradigmatic interrupted structure, but contain unique voice-leading features that superimpose an undivided structure on top of the "residual" interrupted structure. Carl Schachter's observations about "genuine double meaning" and his arguments about the interplay between design and tonal structure in "Either/Or" establish the foundation for my analytical approach to paradox. Timothy Jackson's reading of Brahms' "Immer leiser word meine Schlummer" (Op. 105, No. 2) and Stephen Slottow's "Von einem Kunstler: Shapes in the Clouds" both clarify the methodology employed here. My interpretation of paradox involves more than just a slight contradiction between two Schenkerian readings; it involves fundamentally opposed readings, that both result from valid, logical lines of analytical reasoning. In my view, paradoxes could be considered a central part of Beethoven's persona and philosophy. Beethoven's romantic endeavors and his relationships with mentors suggest that paradoxes might have been central to his bravura. Furthermore, Beethoven's familiarity with the politics of the French Revolution and Shakespearean literature suggest that paradoxes in some pieces (including the Ninth Symphony) could be metaphorical representations of his ideology. However, I do not attempt to explicitly link specific style features to extra-musical ideas. Modern Schenkerian scholars continue to expand and refine Schenker's formal-tonal models as well as his concept of interruption. In my view, by considering paradox as a focal compositional problem, we can better understand some of the formal-tonal issues and shifting allegiances in Beethoven's music and take another step beyond the rigidity of some paradigmatic formal-tonal prototypes.

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Gaboriaud, Marie. "« Ce maître mystérieux » : la construction littéraire du mythe de Beethoven sous la Troisième République". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040159.

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La Troisième République a « mystifié » Beethoven. Elle en a fait un personnage de fiction, et l'a intégré au canon républicain français, en le dotant de toutes les valeurs morales et idéologiques qui fondent alors la construction de l'identité nationale. Ce travail vise à mettre en lumière le corpus particulier qui a contribué à la formation de ce mythe, en partie héritier du romantisme, mais aussi éminemment moderne. La critique musicale, la biographie, le roman, le théâtre, l'édition de vulgarisation et l'édition pédagogique sur Beethoven forment un ensemble organique, qui contribue au même but : la glorification du musicien de Bonn. Son image devient alors un matériau littéraire qui va former une véritable littérature beethovénienne, ainsi qu'une poétique, marquées par les emprunts multiples à l'épopée, à l'hagiographie, au roman-feuilleton, au roman picaresque et au drame bourgeois notamment. Cet ensemble composite tend pourtant à la standardisation, dans la mesure où se figent des motifs et des récits-types. Tout ceci contribue à faire de Beethoven le « héros de la conscience moderne ». L'idéologie républicaine l'élève comme figure d'identification et d'édification morale au même titre que les « classiques », de sorte que les intellectuels de l'entre-deux-guerres feront de ce nom un outil de sauvegarde des valeurs humanistes, face à la montée des périls
The Third Republic « mystified » Beethoven. It turned him into a fictional character, and integrated him into the French republican canon, endowing him with all the moral and ideological values that then were at the root of the construction of national identity. This work aims to highlight a specific corpus, which contributed to the creation of the myth, which partly draws on Romanticism but is also eminently modern. Music criticism, biographies, novels, drama, popularization and educational works about Beethoven constitute an organic group of works, aiming at the glorification of the musician from Bonn. His image thus becomes a literary material, and contributes to building a beethovenian literature, and a beethovenian poetics, which borrows its aesthetics in particular from the epic, hagiography, serialized novels, picaresque novels and bourgeois drama. However this heterogeneous corpus tends towards standardization insofar as the narrative patterns somehow froze as commonplaces. All this leads to Beethoven being turned into the “hero of modern consciousness”. The republican ideology raised him to the rank of an icon both for identification and moral edification, in the same way as the “classics”. To the intellectuals of the interwar period he embodied humanist values and was a symbolic weapon against the rise of totalitarianism

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21

Lively, Michael. "Non-Linear and Multi-Linear Time in Beethoven's Opus 127: An Analytical Study of the "Krakow" Sketch Materials". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31540/.

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Beethoven's complex manipulation of formal structures, especially his tendency to build important connections and transformative continuities between non-adjacent sections of musical works, may be seen to function as an attempt to control and sometimes to distort the listener's perception of both the narrative process of musical directionality, as well as the subjective interpretation of time itself. Temporal distortion often lies at the heart of Beethoven's complex contrapuntal language, demonstrated equally through the composer's often enigmatic disruption of phrase-periodic gestures, as well as by occasional instances of overtly incongruous temporal shifts. The "Krakow" collection of compositional sketches for Beethoven's String Quartet in E-Flat, Op. 127, provides a number of instances of "non-linear" or "multi-linear" musical continuity. The term "Krakow" sketches, when referenced in this dissertation, specifically designates the group of Beethoven manuscripts possessed by the Biblioteka Jagiellońska in Krakow, Poland, but which formerly were held by the Royal Library in Berlin. Structural voice-leading analyses are provided for selected portions of the "Krakow" collection; these analyses are then compared to voice-leading graphs and analytical reductions of the corresponding material from Beethoven's published versions of the same musical passages. In some cases the sketches supply almost complete texts, for which critical transcriptions are included as extended examples within the dissertation. The primary analytical technique applied to both compositional sketches as well as to complete musical texts derives from Heinrich Schenker's theory of structural voice-leading and graphical reduction. An important method of critical assessment, from which a number of theoretical arguments are developed, is the contention that Beethoven's contrapuntal language, at least in regard to the op. 127 String Quartet, relies heavily upon a temporal distortion of both form and phrase-periodic gestures, requiring the listener to actively re-construct the continuity of Beethoven's subjective formal archetypes.

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22

Jurado, Thamara Moretti Soria. "Música e negatividade". Universidade Federal de São Carlos, 2007. https://repositorio.ufscar.br/handle/ufscar/4880.

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Made available in DSpace on 2016-06-02T20:13:15Z (GMT). No. of bitstreams: 1 5659.pdf: 423776 bytes, checksum: 6281b1f112277d9e670009ebce3fd8fd (MD5) Previous issue date: 2007-08-21
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This dissertation intends to investigate Adorno s analysis concerning Beethoven s late style in the attempt of understanding the importance delegated to this composer s works, which led Adorno to identify it with the beginning of a process that would culminate in Schoenberg. For doing that, we will use these comprised fragments in Beethoven s work: the philosophy of music, in special The Style I and II .
A presente dissertação procura investigar as análises de Adorno acerca do estilo tardio de Beethoven na tentativa de compreender a importância delegada às obras deste compositor que levaram Adorno a identificá-lo com o início de um processo que culminaria em Schoenberg. Para tanto, utilizaremos os fragmentos compreendidos na obra Beethoven: the philosophy of music, em especial The Style I e II .

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23

Zurletti, Sara. "Le concept de matériau musical chez Th. W. Adorno". Paris 8, 2002. http://www.theses.fr/2002PA082105.

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Ce travail démontre comment l'esthétique musicale adornienne est fondée essentiellement sur la notion de matériau musical. Dans la première partie, nous expliquons que cette notion ne concerne pas quelque chose de matériel, de concrètement présent dans la composition musicale : le matériau musical est en effet, chez Adorno, un dispositif abstrait et commun qui sert aux compositeurs pour la structuration du sens en musique. Ainsi, démontrons-nous que la musique est conçue selon l'hypothèse de "ressemblance au langage", et que le matériau agit dans son esthétique comme le code universel de la communication musicale. En ce sens, il coi͏̈ncide avec la notion de "tonalité". Dans la deuxième partie, nous arrivons à voir comment l'esthétique adornienne, à partir de cette notion fondamentale de "matériau", est centrée sur le Classicisme et, plus précisément, sur la figure de Beethoven. Cela va re-contextualiser la pensée d'Adorno dans le sens d'une pensée musicale structurée autour de la tradition classico-romantique. Dans la dernière partie, nous nous occupons de la nouvelle musique et de la deuxième avant-garde, et donc du problème du Progrès en musique : l'achèvement de la rationalisation interne de la musique - L'Aufklärung musicale - se révèle en fait selon Adorno fatal à la musique comme il l'est déjà à la réalité historico-sociale. . .

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24

Kim, Jungsun. "Voice and Genre in Beethoven's Deux Grandes Sonates pour le Clavecin ou Piano-Forte avec un Violoncelle obligé, Op. 5". Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4504/.

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This paper examines the generic aspect of Beethoven's Opus 5 Cello Sonatas (1796) from structuralist and post-structuralist perspectives, and explores the works from these viewpoints in order to gain insights into how the sonatas function as autonomous musical texts rather than historiographic documents of Beethoven's biography or transitional contributions in the development of the genre of the solo sonata as it was later cultivated. The insights offered by these perspectives argue for a reconsideration of the conventional notions of "work" and "text," which underscore the doctrine of work-immanence. This perspective also offers insights that have proven elusive when the works are considered primarily in the context of the historical-biographical construct of Beethoven's three style-periods. By applying the aesthetic practice of expressive doubling prevalent at the turn of the nineteenth century to Beethoven's Opus 5 Sonatas, a deeper understanding of the constellation of the duo sonatas in accompanied keyboard literature will be attained. Also, by illuminating the relational nature of meaning realized within a textual framework, this study attempts to enlarge the restricted scope of interpretation conventionally imposed on the Opus 5 sonatas.

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25

Chèvremont, Alexandre. "Du romantisme au classique dans la musique : E. T. A. Hoffmann, Amadeus Wendt et la musique de Ludwig Van Beethoven". Lille 3, 2010. http://www.theses.fr/2010LIL30003.

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Personne, aujourd'hui, n'aurait l'idée de contester que la musique de Beethoven appartient au style classique initié par Haydn et Mozart. Pourtant, cette évidence cache un authentique problème philosophique : que peut signifier le fait de parler de "musique classique" ? Le présent travail se propose un double objectif : exhumer la pensée d'un philosophe méconnu, Amadeus Wendt, à l'origine de la première formulation, en 1836, de l'idée d'une période classique dans la musique ; et montrer que son esthétique prolonge et confirme le romantisme musical de E. T. A. Hoffmann, retravaillé dans cette perspective. Pour Hoffmann comme pour Wendt, la musique de Beethoven représente le sommet de la musique instrumentale, et exige à ce titre d'être éclairée par leur réflexion sur l'histoire universelle de la musique et de l'art. L'ensemble des écrits esthétiques de l'un et de l'autre est donc ici étudié. La confrontation entre Hoffmann et Wendt au sujet de Beethoven se situe aux antipodes du résultat de l'esthétique de Hegel, qui, à la même époque que les écrits de Wendt, considère que la musique, par son extrème "romantisme", menace de sortir des frontières de l'art, et reste étonnament muette sur Beethoven. Le classique selon Wendt est au contraire à comprendre comme l'aboutissement des promesses du romantisme défini par Hoffmann au sujet de la musique. Par-delà leur réflexion sur l'histoire de l'art, Hoffmann et Wendt indiquent que la musique, de façon indépassable dans l'histoire, va jusqu'à accomplir l'essence de l'art
Nobody would deny today that Beethoven's music belongs to the classical style started out by Haydn and Mozart. Yet, the obviousness of this statement hides a genuine philosophical problem : what does speaking of "classical music" imply ? The following work pursues two aims : exhuming the thought of a neglected philosopher, Amadeus Wendt, who gave the first formulation of the idea of a classical period in music in 1836 ; and proving that his aesthetics prolongs and confirms E. T. A Hoffmann's musical romanticism, which in this perspective will be given more thought. To both Hoffmann and Wendt, Beethoven's music represents the height of instrumental music, and must be clarified in this regard by their thinking about the universal history of music and art. Their aesthetics is thoroughly studied here. The confronting views of Hoffmann and Wendt about Beethoven are the exact opposite of the result of Hegel's aesthetics, who considers, at the time of Wendt's writings, that music, because of its extreme "romanticism", is on the brink of transgressing the bounds of art, and remains surprisingly silent about Beethoven. The classic, according to Wendt, must on the contrary be understood as the fulfilling of the promises of Hoffmann's romanticism about music. Beyond their thinking about the history of art, Hoffmann and Wendt suggest that music completes the essence of art, what cannot be superseded in history

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26

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; the focus of the thesis will be to trace the unfolding of these three topics.

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27

Treber, Stefan L. "A Schenkerian Analysis of Beethoven's E Minor Piano Sonata, Opus 90". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28486/.

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This thesis examines the history and origins of Beethoven's E minor Piano Sonata and examines the possibility of the programmatic conception of the work. Dedicated to Beethoven's friend Count Moritz Lichnowsky, the sonata may have been inspired by the Count's illicit affair with his future wife, the singer and actress Josefa Stummer. Providing a thorough Schenkerian analysis of both movements, the inner harmonic structure of the composition is revealed and explained. The author also investigates and details the unpublished original analyses of the composition by Heinrich Schenker, Erika Elias, and Hans Weisse. Both English and German language sources are incorporated into a comprehensive examination of Beethoven's Piano Sonata, op. 90.

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28

Tompkins, Robert. "Beethoven's Opus 18 String Quartets: Selected First Movements in Consideration of the Formal Theories of Heinrich Koch as Expressed in Versuch Einer Anleitung Zur Composition". Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/tompkins_robert_teynac/index.htm.

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29

Clifford, Robert John. "Aspects of meter and accent in selected string quartet movements by Beethoven and Bartok". Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/277928.

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Various approaches to rhythmic analysis have been produced by recent research. Many of these are most suitable for tonal musical compositions; when other methods of tonal organization are present, these theories are less useful. This study uses accent based criteria in order to establish a set of analytical procedures which are applicable to a wide range of musical compositions. Four accent types (contour, agogic, dynamic, and motivic) are identified in two string quartet movements. These are Beethoven's Op. 18, No. 1, movement four, and Bartok's String Quartet No. 4, movement five. The study finds great differences in accent placement between the two works. In both works accents affect phrase grouping and meter. Accent patterns and composite accent profiles, which represent all the accent types in a particular passage, are compiled for important themes. Large fluctuations in accent use are evident between the formal sections of each work.

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30

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/.

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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.

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31

Kramer, Ernest J. (Ernest Joachim). "Beethoven's Transcendence of the Additive Tendency in Opus 34, Opus 35, Werk ohne Opuszahl 80, and Opus 120". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330709/.

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The internal unity of the themes in a sonata-allegro movement and the external unity of the movements in a sonata cycle are crucial elements of Beethoven's compositional aesthetic. Numerous theorists have explored these aspects in Beethoven's sonatas, symphonies, quartets, and concertos. Similar research into the independent variation sets for piano, excluding Opus 120, has been largely neglected as the result of three misconceptions: that the variation sets, many of which were based on popular melodies of Beethoven's time, are not as worthy of study as his other works; that the type of hidden internal relationships which pervade the sonata cycle are not relevant to the variation set since all variations are, by definition, related to the theme; and that variations were composed "additively," that is, one after another, without any particular regard for their order or relationship to one another. The purpose of this study is to refute all three of these incorrect assumptions. Beethoven was concerned with the order of variations and their relationship to one another, and he was able to transcend the additive tendency in a number of ways. Some of his methods included registral connection, registral expansion, rhythmic acceleration, textural expansion, dynamics, articulation, and motivic similarities. Chapter I contains a discussion of the role of the variation set in Beethoven's overall output. The teachers, composers, and works which may have influenced him are also discussed as well as his training in variation composition. Finally, those factors which Beethoven employed to unify his sets are listed and explained. Chapters II-V are devoted to detailed analyses of four striking variation sets: Opus 34, Opus 35, WoO 80, and Opus 120. Chapter VI presents a summary of the findings. It suggests that each of the sets investigated has a unique form and that each variation has a distinct place and purpose.

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32

Picard, Sophie. "Fêter les classiques : permanence et polyfonctionnalité des figures de Beethoven, Goethe et Hugo (1927-1970)". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL193.

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Par l’analyse et la comparaison des actualisations de Beethoven, Goethe et Hugo à l’occasion des commémorations de l’entre-deux-guerres (1927, 1932, 1935) et de l’après 1945 (1949, 1952, 1970), la thèse étudie les conditions de la permanence de ces « classiques » tout au long du XXe siècle. Elle montre comment les acteurs politiques et culturels ont cherché lors de ces célébrations à stabiliser le sens attribué à ces figures et à leurs œuvres et à encadrer les usages qui en sont faits. La prise en compte des dynamiques d’appropriation interculturelles ainsi que des formes de réception généralement ignorées des études littéraires, notamment dans les médias de masse, permet néanmoins de faire émerger des sens et des usages alternatifs qui s’inscrivent souvent en faux par rapport aux modèles dominants et qui tendent à les relativiser, voire à les contrecarrer. Ainsi, en adoptant résolument le point de vue de la réception, la thèse propose une réponse possible au problème de la permanence des classiques : le fait que Beethoven, Goethe et Hugo soient fonctionnalisés simultanément et / ou successivement dans des contextes discursifs et culturels divergents explique leur exceptionnelle longévité. C’est parce qu’ils font l’objet d’usages hétérogènes et souvent contradictoires, qu’ils sont donc polyfonctionnels, que certaines figures d’auteurs ou certaines œuvres survivent à toutes les évolutions culturelles, idéologiques et médiatiques que connaît le XXe siècle
By analyzing and comparing the actualizations of Beethoven, Goethe and Hugo during jubilees in their honor dating from the interwar period (1927, 1932, 1935) and the post-1945 period (1949, 1952, 1970), the thesis examines the conditions of permanence of these “classics” throughout the twentieth century. It shows how political and cultural actors engaged in these celebrations sought both to stabilize the figures’ and their works’ meanings as well as to frame the ways in which they were used. Simultaneously, by taking account of the dynamics of intercultural appropriation and of receptions in domains which remain understudied by literary studies such as mass media, it is possible to bring out alternative meanings and uses which do not fit dominant models and which tend to relativize or even to contradict them. So, by focusing resolutely on the reception of these figures, the thesis proposes a possible answer to the problem of the permanence of classics: The fact that Beethoven, Goethe and Hugo are functionalised simultaneously and / or successively in divergent discursive and cultural contexts explains their exceptional longevity. It is because they are the subject of heterogeneous and often contradictory uses – in other words: because they are polyfunctional – that certain figures and works survive the many cultural, ideological and media evolutions of the twentieth century

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33

Accaoui, Christian. "Musique et temps : rythme, variation, symbolique dans la musique instrumentale de Haydn à Beethoven". Paris 8, 1994. http://www.theses.fr/1995PA080921.

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La musiqsue instrumentale s'abandonne-t-elle a ses propres mouvements ou son mouvement est-il predetermine par une (ou des) conception(s) du temps ? dazns quelle mesure le sens de la musique instrumentale reside-t-il dans la forme de son mouvement en regard des trois modalites du temps : succession, duree, simultaneite ? cette recherche tente de repondre a ces deux questions a partir de l'etude des oeuvres classiques de haydn, mozart, beethoven. La position mediane de ce corpus dans l'histoire de la musique instrumentale, son influence durable sur les productions des deux derniers siecles, permettent d'etendre, en les nuancant, la plupart des conclusions de cette etude a une tres large periode, du baroque a nos jours. Deux premieres parties (rythme, variation), tres analytiqsues, etudient, a partir de nombreux exemples musicaux, les implications temporelles des structures rythmiques et des techniques de variation classiques. Les deux dernieres parties (temps, symboliqsue) marquent les convergences d'une telle conception du temps avec certaines conceptions philosophiques du temps : celle, contemporaine, de l'idealisme allemand, celle, plus ancienne, de la tradition theologique et philosophique, depuis plotin, saint augustin, boece
Does instrumental music give way to its own movements or is its movement predetermined by a (or several) conception(s) of time ? does sense of instrumental music lie on its movement's configuration regarding to the three modalitees of time : succession, duraztion, simultaneousness ? this research attempts to answer to these the questions studing classical works from haydn, mozart, beethoven. The middle position of this corpus in instrumental music's history, its durable influence over the last two centuries' productions allow to extend, varing them slightly, most of this work's conclusions to a very large periode, since baroque up to now. The first two parts (rhythm, variation), very analytical, study from many musical examples the temporal involvings of rhythmical structures and classical technics of variation. The last two parts (time, symbolism) indicate convergences of such a conception of time : the contemporaneous one which is the german idealism, the earliest one which is the theological and philosophical tradition since plotin, saint augustin, boece

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Molle, Nicolas. "Beethoven et la Grande-Bretagne du vivant du compositeur : une fascination réciproque aux multiples facettes". Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0221/document.

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L'objet de cette thèse est de s'intéresser aux relations entre le compositeur allemand et la Grande-Bretagne. À première vue, cette idée peut paraître surprenante. En effet, Beethoven, compositeur allemand né en 1770, ne foula jamais le sol anglais à l’inverse d’autres compositeurs comme Haydn, Weber et Mendelssohn. Pourtant, ce travail s'efforcera de démontrer qu’une relation véritable s’était établie, qu’elle portait sur de nombreux aspects et qu’elle était mue par un sentiment d'admiration réciproque. En premier lieu, cette thèse s'attachera à définir, d'une part, les origines de l'enthousiasme du compositeur allemand pour la Grande-Bretagne et, d'autre part, les aspects de la culture britannique qui plurent tant au compositeur. Ainsi, la politique, le système parlementaire, la littérature et la musique anglaise furent autant d’éléments sur lesquels Beethoven portait son admiration. Aussi, nous retrouvons le témoignage de cette affection à travers certaines de ses œuvres et inspirations musicales. Ensuite, ce travail de recherche mettra en lumière les mécanismes qui permirent de faire de Beethoven un compositeur célébré dans tout le Royaume-Uni jusqu’à l’ériger en un nouveau héros musical britannique. Par conséquent, ce travail analysera la programmation et la réception des œuvres du compositeur dans tout le royaume et mettra en évidence le rôle du réseau beethovénien à Londres dans la promotion de sa musique. En effet, Beethoven put jouir de l’aide précieuse de deux réseaux : un premier réseau composé d’amis viennois ou étrangers résidant à Londres comme Clementi, Salomon, von Häring, Ries qui le mirent en relation avec un second réseau, composé de Britanniques comme les musiciens Smart, Neate ou l’éditeur Birchall. Ces deux lobbies se retrouvèrent dans l’outil principal de promotion de Beethoven, la Société Philharmonique de Londres, créée en 1813. La thèse démontrera également l'importance des différents aspects contextuels – social, historique et esthétique – favorables à la domination de Beethoven sur la scène musicale britannique. Enfin, ce travail montrera comment la presse fit du compositeur allemand un « citoyen » britannique. Pour terminer, au fil des pages, ce travail tentera de combler une lacune dans les études beethovéniennes, à savoir, l’explication des raisons qui poussèrent Beethoven à abandonner ses projets de visite, pourtant nombreux, en Grande-Bretagne
The aim of this thesis is to focus on the relationship between the German composer and Great Britain. However, at first glance, this idea may be surprising. Indeed, Beethoven, born in 1770 in Germany never went to Britain unlike other composers such as Haydn, Weber and Mendelssohn. Nevertheless, this study will attempt to show that a true relationship was established, based on numerous aspects and on a reciprocal feeling of admiration. Firstly, this thesis will try to find the origins of the German composer’s enthusiasm for Britain and it will then define the different cultural aspects that were so dear to Beethoven. Thus, literature, music and politics emerge as the different aspects of British culture which the musician admired the most. As a result, it is possible to find tokens of his fascination for Britain through his works. In the same way, this research work will describe the mechanisms which contributed to make Beethoven a celebrated composer in the United Kingdom who, gradually, became the new British musical hero. Thus, this thesis will analyse the concert programmes and reception of Beethoven’s works and it will shed new light on the importance of networks which promoted the composer within the British musical scene. Indeed, Beethoven benefited from the valuable help of two networks: the first was composed of Viennese or foreign friends living in London like Clementi, Salomon, von Häring or Ries, who put him in contact with a second network, a British one with English musicians like Sir George Smart, Charles Neate or publishers like Robert Birchall. Finally, these two lobbies merged together into one of the key elements promoting Beethoven’s music, The Philharmonic Society, created in 1813. This study will also show the importance of the social, musical and esthetical factors which favoured Beethoven’s domination of the British musical scene. It will show how the British press elevated Beethoven to the rank of “British” citizen especially during his agony. Finally, in Beethoven studies, there is a major gap to fill in: the reasons why Beethoven abandoned the different projects of visiting England

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35

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.
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 Schenkerian techniques) the harmonic, contrapuntal, and motivic procedures in Beethoven's last complete composition, the String Quartet in F major, op. 135. Most of the published analytical commentaries on the F major quartet approach the work more or less exclusively from a motivic standpoint. Arnold Schoenberg (1941), Rudolf Reti (1951), Deryck Cooke (1963), and Christopher Reynolds (1988) have all praised op. 135 for its highly unified motivic structure; what their studies show--at least in a general sense--is that there is undoubtedly a motivic strategy that ties much of op. 135 together. But what are we to do when the details of one motivic reading opposes another? Or what if a particular reading contradicts the way we understand a passage aurally (which happens often when the proposed reading is incongruous with the music's harmonic-contrapuntal structure)? What criteria should we use to evaluate a motivic analysis? Clearly, we need a set of principles and standards that will help answer these questions and advance us beyond mere intuition. The position taken in this study echoes John Rothgeb's argument that "proposed thematic relationships must bear scrutiny in the light of the Schenkerian theory of structural strata," and that incompatible readings should be "dismissed as spurious" (1983, 42). In the pages that follow, Schenkerian approach is adopted to help assess existing motivic readings of op. 135 within the requisite contexts of harmony and voice leading. The method is also used to help generate a rational, hearable analysis that reveals motivic relationships that reside at deeper, hidden levels of structure.
Adviser: Jack Boss

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Vial-Henninger, Mireille. "Essai de mythe-analyse du processus de création musicale : justification, méthode, application. Beethoven, la 23e sonate dite Appassionata (exposition) ; Berlioz, Episode de la vie d'un artiste : la Symphonie fantastique suivie de Lélio ou le retour à la vie". Paris 4, 1996. http://www.theses.fr/1996PA040092.

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L'auteur essaie de faire apparaitre, à travers l'analyse de deux œuvres : l'exposition du 1er mouvement de la sonate Appassionata de L. Van Beethoven et La symphonie fantastique suivie de Lélio ou le retour à la vie de Berlioz, la fécondité et la fiabilité de ce qui pourrait devenir une nouvelle forme - ou application - d'analyse musicale. Son outil dominant est l'usage rationnel du raisonnement par analogie, appliqué à la logique du vivant, binaire et polarisée (sur le modèle du biologiste S. Lupasco), alliée au mythe. Cette approche n'envisage que l'œuvre musicale elle-même et non l'investigation dans la vie du compositeur comme pourrait le faire la psychanalyse. Par une voie sensiblement analogue - l'utilisation du mythe - elle parvient à l'explication des œuvres. Après une analyse musicale rigoureusement classique (factorielle, structurelle et dynamique) cet outil redonne leur sens aux structures et aspects remarquables mis en évidence. Il les coordonne et montre, par le parallèle avec le mythe, que le compositeur - consciemment ou non - suit un processus personnel de création qui s'inscrit dans le plan général du déroulement du mythe. Cet expose méthodique est né de la nécessité pédagogique d'expliquer rationnellement l'emploi d'un vocabulaire issu du sentiment. L'auteur serait satisfait de voir ce travail ne pas rester du domaine de la seule recherche et se diffuser vers l'enseignement
Through the analysis of two pieces - the exposition of the 1st movement of L. Van Beethoven’s sonata Appassionata, and Berlioz's Symphonie fantastique followed by Lelio ou le retour a la vie - the author tries to bring out the fertility and feasibility of what could become a new form (or application) of musical analysis. The author primarily uses a rational approach, reasoning through analogies applied to the logic of living things, binary and polarized (following the model of biologist S. Lupasco) linked to myth. This method only takes account of the musical piece itself and does not investigate the composers’ lives as a psychoanalytical approach could do. In a somewhat analogues fashion - the use of myth - the author is able to explain the pieces. Once analyzed in a strictly classical way (factorial, structural and dynamic), the use of myth not only gives meaning to the structures, but brings out remarkable aspects that demonstrate that the composer - be it consciously or not - has followed a personal creative process that inscribes itself in the general plan of the development of a myth. This methodical expose came about from the pedagogical necessity to explain rationally the use of vocabulary coming from sentiment. The author would be satisfied to see this work go beyond the field of research and into that of education

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

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Simonis, Lavinia-Nadiana. "The last Beethoven". Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010545/document.

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L'étude présente est avant tout le résultat d'une préoccupation personnelle de longue durée, qui commence avec mes premières leçons de piano et mes tentatives de jouer la musique de Beethoven. Le désir de savoir autant que possible sur la personnalité, la vie, les événements et les situations qui ont conduit à la naissance d'une œuvre est apparu très tôt. Il est évident et simple à démontrer, par ses propres notes et les témoignages de ceux qui ont écrit sur lui depuis presque deux cents ans, que Beethoven a eu des circonstances extérieures, des événements et des occurrences sociales, même historiques, qui ont déclenché certains thèmes musicaux, auxquels son propre génie et sa sensibilité ont trouvé la forme d'expression qui nous est connue aujourd'hui. Ensuite, deuxièmement, il s'agit dans cette étude d'un engagement strictement théorique. Je souhaite exposer les liens formés le long des presque trois décennies de maladie, entre la déficience auditive et la création musicale de Beethoven. Au-delà de la situation de nature médicale qu'il a accueillie avec une explicable panique, avec un mélange d'impuissance et de dépression, qui l'ont mené au seuil du suicide, presque, environ l'année 1803, la perte de l'ouïe a ouvert un horizon agonique dans l'existence du compositeur, un horizon qui a marqué sa lutte avec le destin. Celui-ci est le thème, sa perception, qui le déterminera à assumer l'image et le rôle du Héros, du Titan tendu sous les épreuves sombres des machinations divines qu'il accueille avec courage et, des fois, même avec défi. C'est de ces tensions que jaillissent quelques-unes de ses œuvres les plus complexes, puissantes, expressives et novatrices, depuis la Symphonie no.3 et jusqu'à la 9ème, les sonates pour piano et certaines de ses compositions pour cordes. Le modèle héroïque a été sans doute salvateur, une circonstance d'émulation titanique qui a aidé Beethoven à mener si loin, dans le sens créatif, sa lourde et, en quelque sorte, ironique déficience. Il faut admettre, d'autre part, que, en dehors de ce modèle romantique de se rapporter au destin par le recours au Héros et au Titan - figures de la grandiose culture grecque classique - on a du mal à déceler la relation du compositeur avec Dieu dans le sens chrétien, sa manière d'intégrer une vision, un sens de la vie fondé sur celui-ci. Certes, Missa Solemnis en Ré majeur op.123, la Symphonie no.9 et quelques autres ouvrages ou parties d'ouvrages, entretiennent l'avis que Beethoven a composé, tout comme Bach, son modèle et maître favori, de la musique de glorification de Dieu. Et si cela est tout à fait vrai, alors notre mission de comprendre son passage par des modèles culturels et religieux si différents devient encore plus difficile
This study is, above all, the outcome of a long-lasting personal concern that goes back to the period of my first music lessons and my attempts to play Beethoven's music on the piano. My passion for certain musical compositions, the care to interpret them in the way, with the sensitivity and in keeping with their creator's intentions might be translated as follows: 1 wish to perform as if he could hear me and could recognize himself in the music I performed. I was fi lied, at a very early age, with the desire to know as much as possible about his personality, his life, the events and the circumstances that led to the birth of his work. It is obvious and easy to prove, based on Beethoven's own notes and the testimonies of those who have written about him for nearly two hundred years, that there were external triggers, such as social and even historical events or happenings, which activated certain musical themes that his genius and sensitivity gave expression in the form known to us today. In this study, I will speak, at the appropriate time, about situations, contexts and events of this kind: family problems, like the affair involving his nephew Karl, or sentimental issues, like the "lmmortal Beloved" (Der Unsterbliche Geliebte), the drama entailed by hearing Joss, the evolution of event on the European stage during the Napoleonic and post Napoleonic periods, etc. Second, this study represents a strictly theoretical undertaking. I wish to present, according to my own understanding, the connections formed throughout the nearly three decades of disease between Beethoven's hearing impairment and his musical creation. Beyond the medical situation that he responded to with understandable panic, with a mixture of helplessness, tremor and depression, which brought him close to the brink of suicide in around the year 1803, the Joss of hearing opened an agonizing horizon in the composer's existence, a horizon against which he waged his battle with destiny. This is the theme, his perception, which led him to take on the image and role of a Hero, of a Titan, strained under the bleak attempts of the divine machinations that he met with courage and, sometimes, even with defiance. It was from these strains that some of his most complex, powerful, expressive and innovative works gushed forth, from his Third and Ninth Symphonies to the piano sonatas and several other compositions for strings. Beethoven was, according to Wagner's very suggestive comparison, the equivalent of Tiresias. Thus, shifting between levels of expression, he could hear pure music with an ear that was no longer disturbed or corrupted by outside sounds. The music he heard and transmitted gushed out of himself, from the depths of his being, which was marked by dignity and prophetic drama in equal measure. His internal hearing was already sensitive to the sounds of the World, to the rhythms of Phenomena, to the turmoil and syncopes of Life. Like Tiresias, Beethoven was a prophet who could hear, understand and transmit the mysterious music of the world to the future centuries. He could hear the music of paradise and convey it in the Pastoral Symphony, he could hear the sublime joy of human brotherhood and convey it at the end of the Ninth Symphony, he could hear the sounds of death and hell and convey them in the serious, funeral passages of the Eroica Symphony of the Hammerklavier Sonata. He could hear the ceaseless melody of life's flow through time, he could understand the sonata of nature, the dance of light, the verve of joy, but also the twilight, pain and night, the end. He could hear the music from which this universe of illusory, transient and capricious forms was made, this universe which we call reality. This, I believe, is the "Last" Beethoven

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39

Lambiet, Maud. "Le critique et l’analyste : réceptions de la forme sonate chez Beethoven, Liszt, Ives et Boulez". Paris, EHESS, 2014. http://www.theses.fr/2014EHES0160.

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La critique et l’analyse musicales sont les premières intervenantes à débattre de l’œuvre, de son expression et de sa signification. Liées à des pratiques précises, elles décrivent et interprètent la musique en mobilisant des catégories différentes d’analyse et de compréhension. En participant à transformer les valeurs et les normes auxquelles se conforme la musique et à définir de nouveaux rapports, elles enrichissent chacune à leur façon l’expérience musicale. Partir de quatre sonates pour piano, l’Appassionata de Beethoven, la Sonate en si mineur de Liszt, la Concord Sonata d’Ives et la Deuxième sonate de Boulez, balise un espace temporel de 150 ans et circonscrit un espace herméneutique. Il s’agit de quatre points d’ancrage à partir desquels il est possible d’observer et d’analyser les rapports que les acteurs entretiennent avec les œuvres, les représentations qu’ils projettent et la façon dont ils donnent sens à leurs représentations et à leurs actions. Circuler entre la critique et l’analyse met en évidence qu’un dialogue s’instaure entre les deux et ébranle ce que le sens commun retient, à savoir que l’analyse en tant que pratique savante modère les évaluations subjectives énoncées spontanément et arbitrairement par les critiques
Music criticism and musical analysis are first to present and discuss the musical meaning and significance of the artworks. They are bound to methods of reasoning and they describe and interpret music by mobilizing different categories of analysis and understanding. In their own ways they improve the musical experience by transforming values and norms and defining new relationships. Four piano sonatas demarcate a period of 150 years and delimit a hermeneutical space : Beethoven’s Appassionata, op. 57, Liszt’s B minor Sonata, Ives’ Concord Sonata and Boulez’s Deuxième Sonate. They are the four beacons from which the relationships between the players and the artworks could be observed and analysed. Critics’ statements and analyses of these sonatas highlight the representations reflected by the players on the artworks and how they give sense to their representations and actions. The flow of ideas between music criticism and musical analysis emphasises that a dialogue is established between them. That undermines what the popular mind retains, i. E. That musical analysis holds the epistemological authority in musical thought

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40

Milton, Jeremy. "Beethoven's piano and violin sonata no. 10, opus. 96: Beethoven's emotional condition as reflected in a style analysis of the work". Thesis, 2005. http://hdl.handle.net/2152/2302.

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"Beethoven, bagatelle and genre". 2003. http://library.cuhk.edu.hk/record=b5891431.

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Yip Ching Lee Jenny.
Thesis (M.Mus.)--Chinese University of Hong Kong, 2003.
Includes bibliographical references (leaves 80-82).
Abstracts in English and Chinese.
Abstract (English) --- p.i
Abstract (Chinese) --- p.iii
Acknowledgments --- p.iv
Introduction --- p.1
Chapter Chapter 1 --- Defining Bagatelle --- p.4
Chapter Chapter 2 --- Defining Genre --- p.22
Chapter Chapter 3 --- Beethoven's Bagatelles --- p.38
Conclusion --- p.76
Bibliography --- p.80

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42

Lee, Soo-yun. "A personal interpretation of Ludwig van Beethoven's last piano sonata, op. 111, from a spiritual viewpoint". 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116370.

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43

Wu, Wan-Hsuan 1977. "Beethoven through Liszt: myth, performance, edition". Thesis, 2007. http://hdl.handle.net/2152/3653.

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The relationship between Franz Liszt and Ludwig van Beethoven has always held a special position in the biographical tradition of Liszt. Liszt claimed that he received a consecration kiss (the Weihekuss) from Beethoven when he was eleven. However, the story probably was fabricated: in other words, the personal relationship between Liszt and Beethoven was never realized and never existed. Even though Beethoven and Liszt probably have never met, the Weihekuss still served as, in Liszt's words, "the palladium of my whole career as an artist." Liszt constructed a rather complicated relationship with Beethoven around this myth. In this study, I shall examine how the Weihekuss influenced both Liszt's life and his professional development as a performer and editor. In chapter one, I will analyze Liszt's psychological state through the anecdote and further examine the impact that Beethoven had inserted on both Liszt's life and career. On becoming a concert pianist, Liszt was the first person who performed Beethoven's piano sonatas in public and eventually elevated the genre of the sonata into the concert repertory. In chapter two, through eyewitness testimonies, Liszt will be viewed in a broader cultural and historical perspective. Meanwhile, Liszt's relationship with his audiences and his marketing strategies will also be included in this discussion. Liszt's "authority" on Beethoven led him to complete an edition of Beethoven's thirty-two piano sonatas in 1857. By examining Liszt's edition, particularly those sonatas that he performed, one can get a sense of how Liszt himself may have interpreted the music. According to Liszt himself, he performed ten Beethoven piano sonatas in public. These ten sonatas will be the primary focus in chapter three. Liszt both added and omitted articulation and pedal markings, creating different emphases and lines from those present in Beethoven's original manuscripts. The edition, in a sense, is Liszt's final tribute to Beethoven, but also reveals his constant disappointment in never having met the composer. To edit the sonatas was, for Liszt, a way to communicate with Beethoven spiritually, if not personally.

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44

Salinas, Edgardo. ""Modernity's hearing loss" : Beethoven, romantic critique, and the music of the literary". Thesis, 2011. https://doi.org/10.7916/D8BV7PK9.

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This dissertation explores the relationship between the critique of Jena romanticism and Beethoven's "neue Manier" in the context of the material conditions that shaped European modernity around 1800. By taking as a case study the piano sonatas Op. 31, each chapter examines from a different perspective what represents a key historical moment in the genealogy of the modern notions of musical form and experience. The underlying thesis is that instrumental music was legitimized via a massive epistemic transfer of values from the domain of the literary. From its integration into the economy of the literary, instrumental music acquired an unstable epistemic condition introduced in Chapter 2 as the "materiality of the literary." The theory of romantic irony serves as a methodological point of entry to scrutinize how musical practice, literary discourse, and socio-historical transformations collided and converged to reframe aesthetic experience. Through their critique, the Jena romantics complicated the relationship between the generic and the particular and upheld the preeminence of practice over theory in the art of modernity. Tracing connections between Beethoven's music and the literary, Chapter 4 suggests a structural homology between the novel, as paradigmatic form of literary modernity, and sonata form, as the main compositional strategy of the classical style. Both forms are seen as practices driven by a principle of openness toward difference that emerges within the formation of the literary. The formal approach Beethoven initiates with the sonata forms fashioned in Op. 31 will be recast in Chapter 5 as a self-reflexive manifestation of that principle within the interpretive framework offered by romantic irony. By virtue of the formalist thought of the literary, Beethoven's instrumental forms became aesthetic symbols of the modern self.

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45

Parr-Scanlin, Denise. "Beethoven as pianist: a view through the early chamber music". Thesis, 2005. http://hdl.handle.net/2152/2346.

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Star, Allison. "Beethoven poet: Hector Berlioz's "A critical study of Beethoven's nine symphonies" at the crossroads of French Romanticism". Thesis, 2011. http://hdl.handle.net/1828/3662.

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In attempts to take a step towards illustrating Berlioz's musical aesthetic, my dissertation explores his "Critical Study" as his manifesto of the new poetic in music, which uses Beethoven's symphonies as models. First published in 1844, his "Critical Study" is a collection of individual essays on each of Beethoven's nine symphonies - the most widely known version of these essays originally published in the Revue et gazette musicale de Paris in 1837-8. This collection of essays derives from a reworking of Berlioz's earliest articles on Beethoven (1829-37), notably his reviews of a new concert series at the Societe des concerts du Conservatoire that premiered Beethoven's symphonies in Paris. Almost ten years in the making, Berlioz's "Critical Study" represents the pinnacle of his writings on Beethoven. Here he promotes Beethoven's "romantic" symphonies as models of "poetic" forms, within the context of emerging French literary Romanticism. I examined some of the key components in Beethoven's music that most occupy Berlioz as critic and, in turn, how Berlioz as composer develops these key components in his own contribution to the symphonic genre - his Romeo et Juliette (1839), composed at the peak of his Beethoven study. Ultimately, I hope to have demonstrated that the subtle mixture of the musical, the poetic, the critical pedagogical, and the cultural that intersect in Berlioz's Romeo et Juliette exemplifies the same aesthetic of the poetic that he promotes in Beethoven's symphonies.
Graduate

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47

Chong, Nicholas Junkai. "Beethoven’s Catholicism: A Reconsideration". Thesis, 2016. https://doi.org/10.7916/D8RJ4JMK.

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Since the middle of the nineteenth century, accounts of Beethoven’s religious attitudes have consistently sought to separate the composer from the Catholic religion in which he was born. It is often assumed that, as a child of the Enlightenment, Beethoven cannot have felt a strong affinity for Catholic beliefs, preferring instead an idiosyncratic and unorthodox approach to religion that was suspicious of dogma and tradition. This has led, in turn, to the scholarly marginalization of his religious music, with the Missa Solemnis being the notable exception. On the one hand, Beethoven’s religious works other than the Missa have been frequently dismissed as inauthentic “occasional works” written purely for commercial reasons. On the other hand, the Missa itself, though regarded as a “true” Beethoven work, has been largely interpreted as a de-Catholicized vehicle for the expression of the composer’s untraditional religious outlook. This dissertation challenges long-accepted views of Beethoven and his religious music by demonstrating that they were more heavily influenced by Catholic theological ideas than is usually thought. I focus especially on the connection between the composer and the Bavarian Catholic theologian Johann Michael Sailer (1751-1832), the most important contemporary religious figure for understanding Beethoven’s religious attitudes. In addition, given its monumental scale and its prominence in Beethoven scholarship, I devote special attention to the Missa Solemnis, which the composer was working on at the time of his first documented contact with Sailer and his writings. However, I also investigate other evidence linking Beethoven with the Catholicism of his time: religious references in documentary sources such as Beethoven’s letters, his Tagebuch, and the Heiligenstadt Testament; religious books by theologians other than Sailer in Beethoven’s library; and the musical content of the religious works Beethoven wrote before the Missa, especially the Gellert-Lieder, Christus am Ölberge, and the Mass in C. My study shows that much previous scholarship has misinterpreted or overlooked the significance of such evidence, owing to an inadequate understanding of the complex nature of German Catholicism during Beethoven’s era. I draw on revisionist historical research showing that the Enlightenment was not, as is often believed, fundamentally opposed to traditional religious belief. Beethoven’s religious environment was, for instance, defined by a historical phenomenon that has been called the German Catholic Enlightenment, which, broadly speaking, attempted to reconcile Catholic belief with some of the liberal, progressive ideals normally associated with the Enlightenment in general. The composer appears to have been interested in several specific religious themes emblematic of this Catholic Enlightenment. At the same time, he seems also to have been attracted by some other ideas associated with the Catholic Restoration, a movement that emerged at least partly in opposition to the Catholic Enlightenment. This mixed allegiance was similar to that which characterized Sailer’s theology, and likely accounts for why he found Sailer such an appealing figure around the time he was composing the Missa Solemnis. A more complete and historically coherent understanding of Beethoven’s religious context suggests that the composer was more of a Catholic than he has so often been made out to be, albeit one who was attracted to varieties of Catholicism that have become obscured by the mists of history.

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48

Song, Moo Kyoung. "The evolution of sonata-form design in Ludwig van Beethoven's early piano sonatas, WoO 47 to Opus 22". Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3106597.

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Ross, Megan H. "The second finale of Beethoven's string quartet Opus 130: a study of the composing score and autograph manuscript". Thesis, 2013. https://hdl.handle.net/2144/17150.

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Scholars and performers have long wondered when and why Beethoven composed an alternative ending to his string quartet, Opus 130. The original, the Grosse Fuge, was an immense and heavy multi-sectioned fugal finale; the second was a much shorter and lighter hybrid sonata-rondo form finale. The second finale was the last substantial piece Beethoven composed and is reminiscent of earlier dance-like 2/4 Allegro finales composed by Beethoven, likely influenced by Haydn. This style is seemingly incongruous with our current understanding of Beethoven’s late style, centered around foreign harmonies and forms, with expansive thematic material. While research on this topic has been extensive, including studies in biography, source material, reception history, and harmonic and formal analysis, it has not led to a fully adequate understanding of this second finale. My study aims to provide a fresh understanding of this movement through the examination and evaluation of the later stages of its composition. The major sections of revision found in the composing score, Berlin, Deutsche Staatsbibliothek, MS Autograph 19c, and the autograph fair copy, Berlin, Deutsche Staatsbibliothek, MS Grasnick 10, are closely studied here for the first time. In order to highlight important steps in the creative process, I have selected four heavily revised areas from each of the sonata-form sections of this movement as shown in both manuscripts. My interpretation of these revisions is based on comparison to parallel sections in both manuscripts and the final version, as shown in transcriptions of these passages from the sketches along with accompanying images of the original pages. For each of these sections, I attempt to suggest the order in which Beethoven made his revisions, and I discuss their formal, thematic and harmonic implications. As a whole, these revisions reveal Beethoven’s concern for economical treatment of thematic material, especially motives from theme 1a, and a concern for playing upon the harmonic and formal expectations of his audience. The voicing of theme 2a in the exposition and recapitulation, and the voicing and texture of theme 1a in the development, the false and authentic recapitulations and the coda are analyzed in terms of momentum, sectional balance, texture, and dramatic tension. I suggest that further study of these sketches and related primary source material might help to revise our notion of Beethoven’s late style.

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Praia, Bruno Filipe Dias Moedas. "A 9ª Sinfonia de Beethoven : um hino para a Europa (?)". Master's thesis, 2017. http://hdl.handle.net/10400.2/6611.

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Cantada em todo o mundo, a Ode à Alegria que conclui a 9ª Sinfonia de Ludwig van Beethoven, constitui um marco na civilização ocidental. Criada a partir de um poema de Friedrich von Schiller, louvando a humanidade reconciliada sob a alegria, esta ode teve um destino excecional. Em 1812, Beethoven decide compor uma 9ª Sinfonia em ré menor, resultando anos depois numa obra de um tipo radicalmente novo: uma sinfonia com coro e solistas. Nela encontramos tudo o que guiou o compositor: a fraternidade, o otimismo humanista e progressivo do Iluminismo e a exaltação romântica dos sentimentos heróicos. Desde a sua criação, a 9ª Sinfonia suscitou até aos nossos dias as mais variadas e distintas interpretações por parte de maestros e músicos. No entanto, apesar das opiniões - das mais elevadas às mais críticas – todas compartilham a visão de que haverá, nesta música, um certo ideal das relações entre os seres humanos, uma certa utopia. A Ode à Alegria é o hino oficial da União Europeia. A introdução instrumental deste movimento foi adotada em 1972 pelo Conselho da Europa como o hino da Europa e, em seguida, em 1985, como o hino oficial pelos Chefes de Estado e de Governo da União Europeia. Devido à sua conceção, é uma das composições mais brilhantes e impressionantes de Beethoven. Influenciou profundamente a história da música nos séculos XIX e XX, e não apenas o género sinfónico. A Ode à Alegria tornou-se um símbolo de paz entre as nações e os povos do mundo. A presente investigação tem como objetivo compreender se os cidadãos portugueses, enquanto cidadãos europeus também, conhecem a 9ª Sinfonia de Beethoven, o Hino à Alegria, também hino oficial da União Europeia. E ainda, se este hino europeu é um elemento musical que une todos os cidadãos da Europa. Para o efeito, optou-se por uma metodologia quantitativa baseada em inquérito por questionário, tendo sido realizados os inquéritos por questionário a uma amostra de 660 indivíduos. Após a aplicação dos inquéritos por questionário recorreu-se à abordagem da estatística descritiva (dedutiva) para análise dos dados. Os resultados revelam que a maioria dos participantes conhece a 9ª Sinfonia, o Hino à Alegria e o hino europeu. No entanto, as opiniões dividem-se no que respeita ao hino europeu ser um elemento musical de união entre os cidadãos europeus.
Sung all over the world, the Ode to Joy that concludes the 9th Symphony of Ludwig van Beethoven, is a touchstone of Western civilization. Created from a poem by Friedrich von Schiller, praising humanity reconciled under joy, this ode had an exceptional destiny. In 1812, Beethoven decided to compose a 9th Symphony in D minor, resulting years later in a work of a radically new type: a symphony with chorus and soloists. In it, we find everything that guided the composer: the brotherhood, the humanist and progressive optimism of the Enlightenment, and the romantic exaltation of the heroic feelings. Since its inception, the 9th Symphony has given rise to interpretations. However, despite the opinions - from the highest to the most critical reviews - they all share the view that there is, in this music, a certain ideal of the relations between human beings, a certain utopia. Ode to Joy is the official anthem of the European Union. The instrumental introduction of this movement was adopted in 1972 by the Council of Europe as the anthem of Europe, and then in 1985 as the official anthem by the Heads of State and Government of the European Union. Due to its design, it is one of the most brilliant and impressive compositions of Beethoven. It deeply influenced the history of music in the nineteenth and twentieth centuries, not just the symphonic genre. The Ode to Joy has become a symbol of peace between nations and peoples of the world. The present research aims to understand if Portuguese citizens, who also are European citizens, know the 9th Symphony of Beethoven, the Hymn to Joy, and also official anthem of the European Union. And yet, if this European anthem is a musical element that unites all the citizens of Europe. For this purpose, a quantitative methodology was chosen based on a questionnaire survey, and questionnaire surveys were carried out on a sample of 660 individuals. After the application of the questionnaire surveys we used the descriptive (deductive) statistics approach to analyze the data. The results show that most of the participants know the 9th Symphony, the Hymn to Joy and the European anthem. However, opinions are divided as regards the European anthem being a musical element of union between European citizens.

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Tesis sobre el tema "Beethoven, Ludwig van, 1770-1827. Works"

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