Bibliografías temáticas / Symphonies de Beethoven

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Literatura académica sobre el tema "Symphonies de Beethoven"

Autor: Grafiati
Publicado: 15 de febrero de 2025
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Symphonies de Beethoven"

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Zhang, Xiaochen. "The Symphony of Bass in the Grand Narrative: On the Position and Function of Trombone in Beethoven's Symphonies." Journal of Education, Humanities and Social Sciences 42 (December 9, 2024): 263–70. https://doi.org/10.54097/d3mgyh44.

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Trombone is an important brass instrument and plays an important role in modern symphony orchestra. Trombone is different from other brass instruments. In the history of the development of western Musical Instruments, the shape and playing mode of trombone have hardly changed. However, the position of the trombone in Beethoven's previous symphonies was radically different. Beethoven is recognized as the first composer to bring the trombone from sacred to secular music. This article will list three symphonies composed by Beethoven that include the trombone. Through the research of the creation
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Mathew, Nicholas. "Beethoven's Political Music, the Handelian Sublime, and the Aesthetics of Prostration." 19th-Century Music 33, no. 2 (2009): 110–50. http://dx.doi.org/10.1525/ncm.2009.33.2.110.

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Abstract This article argues for a number of hitherto unrecognized continuities——stylistic, aesthetic, and ideological——between Beethoven's marginalized ““political music”” from the period of the Congress of Vienna and his canonical symphonic works. It rereads his œœuvre against the background of the popularity and ubiquity of the ““Handelian sublime”” in early-nineteenth-century Viennese public life——that is, the aesthetics and social practice of grand choral singing, associated primarily with some of Handel's oratorios, but also with the late choral works of Haydn. Presenting new archival re
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Martin-Castro, Almudena, and Iñaki Ucar. "Conductors’ tempo choices shed light over Beethoven’s metronome." PLOS ONE 15, no. 12 (2020): e0243616. http://dx.doi.org/10.1371/journal.pone.0243616.

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During most part of Western classical music history, tempo, the speed of music, was not specified, for it was considered obvious from musical context. Only in 1815, Maelzel patented the metronome. Beethoven immediately embraced it, so much as to add tempo marks to his already published eight symphonies. However, these marks are still under dispute, as many musicians consider them too quick to be played and even unmusical, whereas others claim them as Bethoven’s supposedly written will. In this work, we develop a methodology to extract and analyze the performed tempi from 36 complete symphonic
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Romashchuk, I. M. "BEETHOVEN IN THE MIRROR OF CENTURIES." Arts education and science 1, no. 4 (2020): 189–94. http://dx.doi.org/10.36871/hon.202004023.

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The article is devoted to a significant date — the 250th anniversary of the birth of the great German composer Ludwig van Beethoven. The author examines some issues of the influence of Beethoven's work on Russian artists in various fields of art. Especially stands out the name of one of the leading representatives of the Soviet musical avant-garde of the XXth century, composer Gavriil Popov, who created "Heroic" and "Pastoral" symphonies, following in the steps of the outstanding German master and entering into a "dialogue at a distance" with him. Furthermore, the indirect parallels between Po
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Nagina, Dana A. "The genre of concert symphony in the works of Haydn and Mozart." Contemporary Musicology, no. 3 (2019): 2–23. http://dx.doi.org/10.56620/2587-9731-2019-3-002-023.

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The article focuses on the concert symphony (fr. symphonie concertante, it. sinfonia concertata) – a classical music form which remains little studied in Russian musicology – as is exemplified in the works of Joseph Haydn and Wolfgang Amadeus Mozart. The study raises three questions crucial for the history and theory of the genre. First, the article analyses the development of ideas about concertante as well as relevant terminology. Reference books and scientific works of the 18th-early 21st centuries provide different points of view on the genre. Some highlight its symphonic nature, while oth
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La Rue, Jan. "Harmonic Rhythm in the Beethoven Symphonies." Journal of Musicology 18, no. 2 (2001): 221–48. http://dx.doi.org/10.1525/jm.2001.18.2.221.

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Simonton, Dean Keith. "Drawing Inferences from Symphonic Programs: Musical Attributes versus Listener Attributions." Music Perception 12, no. 3 (1995): 307–22. http://dx.doi.org/10.2307/40286186.

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In classical music listening, program announcements both on radio and in concerts will usually introduce the performance of a symphony with the same minimal articles of information, such as the composer, the order of composition, the key, and the name, if any. But how much can a listener infer about the musical attributes of the work from these basic facts? Examination of 99 symphonies by 13 symphonists between Beethoven and Shostakovich showed that such rudimentary programmatic data can predict several subjective and objective features, including aesthetic significance, listener accessibility
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Chao, Wu. "LI DELUN’S ROLE IN THE PRESERVATION OF CHINESE ORCHESTRAS." Arts education and science 2, no. 39 (2024): 77–85. http://dx.doi.org/10.36871/hon.202402077.

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Li Delun, an outstanding Chinese conductor, has made a huge contribution to the development and popularisation of Chinese symphonic music in Russia, Europe and the USA. Having received an excellent education at the Moscow Conservatory in the class of opera and symphony conducting, Li Delun has rightfully earned a place in the cohort of outstanding musicians of our time. In early 1956, Li Delun was commissioned by the Chinese political leadership to establish and lead the Central Orchestra. He formed the repertoire of the symphony orchestra, combining Western classics (symphonies by W. A. Mozar
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Phillippo, Simon. "Symphonic Momentum and Post-tonal Dramas: Simpson's First Symphony." Tempo, no. 209 (July 1999): 2–6. http://dx.doi.org/10.1017/s0040298200014613.

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Robert Simpson died on 21 November 1997, leaving behind him an impressive body of works. At its core are 11 symphonies and 15 string quartets; also three concertos, two string quintets, sonatas, some choral music, even some much admired pieces for brass band. While a thoroughly individual, music-as-process modernism imbues all he wrote, the prevailing image of Simpson is that of the conservative classicist, clinging to the apparent certainties of antiquated forms and diatonic tonality – a view that begins to some extent with the composer himself. He is widely known for his influential writings
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Willner, Channan. "Beethoven Symphonies on Period Instruments: A New Tradition?" Musical Times 131, no. 1764 (1990): 88. http://dx.doi.org/10.2307/966398.

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Tesis sobre el tema "Symphonies de Beethoven"

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Liu, Hongye. "Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.

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Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale su
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Oechsle, Siegfried. "Symphonik nach Beethoven : Studien zu Schubert, Schumann, Mendelssohn und Gade /." Kassel ; Basel ; London : Bärenreiter, 1992. http://catalogue.bnf.fr/ark:/12148/cb35531549h.

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Cobra, De Oliveira Maximianno. "Les symphonies de Ludwig van Beethoven : une étude analytique, critique et historique en vue d'une nouvelle édition." Paris 4, 2000. http://www.theses.fr/1999PA040191.

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Ce travail se propose de mettre en évidence les matériaux, les principes et quelques-uns des choix essentiels que nous semblerait devoir assumer une véritable Edition critique des symphonies de Beethoven, titre auquel aucune des éditions actuelles, même les plus récentes, ne peuvent prétendre. Une première partie d'ordre historique énonce quelques éléments et principes essentiels d'une approche objective féconde de l'époque de Beethoven. Illustration de notre méthode et échantillon de ce que devrait à nos yeux inclure une future Edition critique intégrale des symphonies de Beethoven, la second
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Cummings, Ronn (Ronn Thomas). "Analysis of the Re-Orchestrations of Robert Schumann's Four Symphonies Employed by Felix Weingartner: With Four Recitals of Selected Works by Schumann, Beethoven, Tchaikovsky, Poulenc, Bizet, Rossini, and Chabrier." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935814/.

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An analysis of re-orchestrations of Robert Schumann's four symphonies employed by conductor Felix Weingartner (1863-1942). The text includes a brief history of Schumann's orchestral writing career and an overview of Weingartner's life as a conductor. The bulk of the dissertation discusses actual changes suggested by Weingartner (with score examples). Patterns of modifications are identified and discussed as they relate to historically entrenched problems perceived with Schumann's originally employed practices of orchestration. The analysis focuses on overall patterns of alteration imposed by W
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Wiegandt, Matthias. "Vergessene Symphonik ? : Studien zu Joachim Raff, Carl Reinecke und zum Problem der Epigonalität in der Musik /." Sinzig : Studio, 1997. http://catalogue.bnf.fr/ark:/12148/cb39996115s.

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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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Eichhorn, Andreas. "Beethovens Neunte Symphonie : die Geschichte ihrer Aufführung und Rezeption /." Kassel ; Basel ; London : Bärenreiter, 1993. http://catalogue.bnf.fr/ark:/12148/cb35641148f.

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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
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Raab, Armin. "Werkidee und Klangvorstellung. Beethovens Staccato als editorisches Problem am Beispiel der Symphonie Nr. 1." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37112.

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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'investig
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Libros sobre el tema "Symphonies de Beethoven"

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Simpson, Robert Wilfred Levick. Beethoven symphonies. Ariel Music, BBC publications, 1986., 1986.

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Simpson, Robert. Beethoven symphonies. Ariel Music, 1986.

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Berlioz, Hector. Textes sur les symphonies de Beethoven. Page après page, 2005.

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4

Beethoven, Ludwig van. Beethoven for all: Symphonies 1-9. Decca, 2012.

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Galla, Cesare. Le sinfonie di Beethoven. Accademia Olimpica, 1999.

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Beethoven, Ludwig van. Orchestral folio: Beethoven Symphonies 1-9 : flute. Fentone Music, 1990.

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1770-1827, Beethoven Ludwig van, ed. Beethoven, Harnoncourt, 9 symphonies: The Chamber Orchestra of Europe. TELDEC, 1991.

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Rich, Alan. Ludwig van Beethoven: Play by play. HarperCollins, 1995.

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Beethoven, Ludwig van. Beethoven at bedtime: A gentle prelude to sleep. Philips, 1995.

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Brown, A. Peter. The first golden age of the Viennese symphony: Haydn, Mozart, Beethoven, and Schubert. Indiana University Press, 2002.

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Capítulos de libros sobre el tema "Symphonies de Beethoven"

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Beethoven’s Symphonies." In Anthology to Accompany Gateways to Understanding Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-29.

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Busch, Werner, and Martin Geck. "Moritz von Schwind Eine Symphonie 1852." In Beethoven-Bilder. J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04972-8_5.

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Wegner, Sascha. "Pastoral-Sinfonie. Beethoven und der Gesang der Hirten." In Symphonien aus dem Geiste der Vokalmusik. J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-04616-1_2.

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Wegner, Sascha. "Neunte Symphonie. Beethovens Chorfinale zwischen Instrumental- und Vokalmusik." In Symphonien aus dem Geiste der Vokalmusik. J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-04616-1_3.

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Cooper, Barry. "Beethoven’s Unfinished Symphonies." In Beethoven Studies 4. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108552813.004.

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Ferraguto, Mark. "Music for a Culture Hero." In Beethoven 1806. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190947187.003.0005.

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Beethoven’s Fourth Symphony has often been described as “Haydnesque.” But neither the extent of Haydn’s influence nor Beethoven’s motivations for emulating him has been carefully explored. In early 1806, publisher Breitkopf & Härtel began issuing the “London” Symphonies in full score, allowing many connoisseurs to study the works for the first time. Beethoven’s Fourth Symphony, composed that summer, bears numerous compositional affinities to these works (especially Nos. 99, 102, and 103). By turning to the “London” Symphonies for inspiration, Beethoven memorialized his former mentor while
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W. ADorno, Thedor. "Chapitre 8. Vers une analyse des symphonies *." In Beethoven. Éditions Rue d’Ulm, 2021. http://dx.doi.org/10.4000/books.editionsulm.3418.

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"Beethoven Symphonies: some supplementary remarks." In Orchestral Masterpieces under the Microscope. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781800106611-003.

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Steinberg, Michael. "Beethoven." In The Concerto. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0005.

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Abstract The most recent research on this hard-to-pin-down concerto suggests that Beethoven wrote it in 1795 and played it in Vienna on 18 December that year at a concert organized by his teacher, Joseph Haydn, for the primary purpose of presenting three of the symphonies Haydn had composed for his recent visit to London. It is also likely that Beethoven considerably revised the work before its publication by the Viennese firm of T. Mollo & Co. in 1801. The dedication is to Princess Barbara Odescalchi, nee Countess Babette von Keglevics, a gifted amateur who took piano lessons from Beethov
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"Beethoven and Steiner’s Plan." In Beethoven's Symphonies Arranged for the Chamber. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108924207.005.

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Actas de conferencias sobre el tema "Symphonies de Beethoven"

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Siegert, Christine. "Komponisten-Gesamtausgaben im digitalen Zeitalter: Perspektiven und Reflexionen am Beispiel Ludwig van Beethovens." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.95.

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In the field of edition philology a diverse range of digital approaches is being put to the test. Taking Ludwig van Beethoven as a basis, this article demonstrates the limits of printed editions and presents preliminary considerations for a genuinely digital edition of his works. Various versions of the Ninth Symphony, the publisher Sigmund Anton Steiner’s publication concept for the Seventh and Eighth Symphonies and Wellingtons Sieg, which incorporated arrangements for highly diverse scorings, as well as the use of single numbers from the opera Fidelio in other music theatre works of the time
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