Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (D.M.A.)--Ohio State University, 1980. / Includes bibliographical references (leaves 121-123). Available online via OhioLINK's ETD Center.

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references (leaves 337-346).

Thesis (M.M.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 113-116).

Diss.--Oldenburg--Universität, 1997. / Bibliogr. p. 326-354. Index.

Thesis (M.M.)--Boston University. Missing page 28 in numbering only.

Many books have been written which deal with the subject of form and style in Beethoven's works. Most writers, however, seem to be satisfied with superficial descriptions - in some cases merely programatic - which do not explain the underlying problems and treatment of form. Furthermore, no book exists, to my knowledge, which delves so deeply and with such detail as to deduce with almost certain accuracy the inner coherency of the form. It is the aim of this analysis to approach the problem in this way. The edition used for this purpose is that one published by Ernst Eulenberg Ltd. London WI, which was edited from the autograph M.S. by Professor Dr. Wilhelm Altman. No comparisons are made with other editions, and possible printer's and other errors are not considered. I chose the works to be studied here, the three quartets Op. 59, for two reasons: 1) the string quartet medium is one of the most suitable types of instrumental music for the study of form, 2) the Op. 59 quartets belong to a period in Beethoven's life when he was particularly intent upon experimentation in form and development of dimension.

Orientadores: Adriana Giarola Kayama, Antonio Rafael dos Santos / A biblioteca do IA possui CD-ROM / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-02T12:25:06Z (GMT). No. of bitstreams: 1 Praxedes_KarinadaSilvaSantana_M.pdf: 4905748 bytes, checksum: cd76c9e0dcb224a25c99e63d6c70caa2 (MD5) Previous issue date: 2002 / 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 / Mestrado / Mestre em Artes

Thesis (Ph.D.)--Boston University / The study and analysis of all eight cadenzas written by Ludwig van Beethoven for the first four of his piano concertos, reveals, as much as can be gleaned from this evidence, important information about Beethoven's approach to improvisation. This subject has long eluded investigation due to the paucity of musical and collateral evidence. The analyses of these cadenzas, seven of which are complete, reveal surprising information about the nature of the harmonic plan of the cadenzas, and the choice of thematic material in each section of the cadenza. They also uncover consistencies of pattern and compositional technique that clearly set these cadenzas apart from the late eighteenth-century norms, best exemplified by those of Mozart. Beethoven may have been prompted to commit these cadenzas to paper in 1809 by the fear of piracy, a fact he noted with increased attention, after his retirement from the concert stage 1n 1807. And by 1809 he had already begun study of Carl Philipp Emanuel Bach's Versuch and Daniel Gottlob Turk's Clavierschule in preparation for the anticipated education of the Archduke Rudolph. The keyboard fantasy, an important subject in the writings of both these theorists, had i ts own set of rules and compositional approaches. That Turk drew a connec t ion between the fantasy and the cadenza as similar compositional forms, coupled with the amount of detailed description of the fantasy in Bach's treatise, may have served as an inspiration and perhaps guideline for Beethoven's composition of both the Fantasy, op. 77, and the cadenzas in the same year. Certain stylistic characteristics predominate in the cadenzas: the use of imitation at the outset; the greatest extent of fantasy- like free modulation in the first of the three formal sections; the development of the subsidiary theme in the second section, and the strikingly careful avoidance of a strong dominant prolongation before the actual closing dominant of the cadenza. The cadenzas show an increasing predilection to grow in the direction of compositional, rather than extemporizational planning, a tendency that reaches its zenith in the written-in cadenzas in the Fifth Piano Concerto, the Violin Concerto, and the unfinished Sixth Piano Concerto.

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.