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Trotz der bahnbrechenden Analyse von Heinrich Schenker, der beeindruckenden Untersuchung der Skizzen durch William Drabkin und der jüngsten analytischen Übersichten von William Kinderman ist der Variationssatz von Beethovens Klaviersonate Nr. 32 in c-Moll, Opus 111, nach wie vor nur teilweise verstanden. Eine erneute Untersuchung dieses Werks im Hinblick auf klangliche Effekte, die auf dem Originalinstrument, für das es komponiert wurde, hörbar sind, legt eine insgesamt dreiteilige dramatische Aufteilung nahe, die der Form eines Auferstehungsdramas entspricht, in dem ein Thema lebt, stirbt und in der Apotheose wiederkehrt. Diese Schlussfolgerung stützt sich auf Tonaufnahmen, die auf Beethovens originalem Broadwood-Fortepiano in Budapest und ähnlichen Instrumenten in Bonn und Kalifornien gemacht wurden. Recherchen in Beethovens Manuskripten und Skizzen stützen die in diesem Aufsatz dargelegten Schlussfolgerungen. / Despite Heinrich Schenker’s groundbreaking analysis, William Drabkin’s impressive examination of the sketches and recent analytical overviews by William Kinderman, the variation movement of Beethoven’s Piano Sonata No. 32 in c minor, Opus 111 remains only partially understood. A re-examination of this work in terms of timbral effects audible on the original instrument for which it was composed suggests an overall three-part dramatic division corresponding to the form of a resurrection drama where a theme lives, dies and returns in apotheosis. This conclusion is based upon sound recordings made on Beethoven’s original Broadwood fortepiano located in Budapest and similar instruments in Bonn and California. Research into Beethoven‘s manuscripts and sketches support the conclusions presented in this paper.

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The transcriptions of Franz Liszt (1811-1886) and Anton Rubinstein (1829-1894) on Beethoven's "Marcia alla turca" serve as unique examples within the area of transcription since each of these important virtuosos transcribed the movement with drastically different results. Liszt's Capriccio alla turca (1846) is built on Beethoven's thematic materials although it is presented with a greatly embellished accompaniment providing countermelodies, expanded passages, and vigorous rhythmic features. In contrast, Rubinstein's Turkish March (1848) attempts to capture Beethoven's original (1811) as closely as possible adhering to the form and harmonies. Each composer's approach served to showcase new pianistic innovations capturing orchestral sonorities at the piano previously unimagined. This dissertation offers musical insight for two less well-known works from significant pianist-composers which should receive further attention. Additionally, this research provides greater documentation for the compositions of Rubinstein, supplementing the historical accounts of his abilities as a performer. Examination and comparative analysis of each transcription not only illuminates the creative approaches each composer employed in creating his transcription, but also serves pianists wishing to perform these neglected works.

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.

The primary purpose of this thesis will be to examine the orchestration of the trombone section in the Viennese symphonies of the early Romantic period. In order to fully understand the function of the trombone section in these syphonies, a review of the trombones usage in previous centuries is in order.

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

Orientadores: Eduardo Antonio Conde Garcia Junior, Mauricy Matos Martin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T14:54:19Z (GMT). No. of bitstreams: 1 Shigeta_Ayumi_M.pdf: 1413010 bytes, checksum: 17ec7f031c9fa9ac2b3f8399fc2ab4a5 (MD5) Previous issue date: 2008 / 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 / Mestrado / Mestre em Música

In contrast to Beethoven’s music, Schubert’s music has been described through the concept of “a-finality” (Fischer 1983), employing the same elements repeatedly. In this sense, Schubert’s music seems incompatible with the kind of “processual” thinking which is typical for Beethoven’s music. This paper addresses such incompatibility through a comparison of the slow movements of Schubert’s piano sonata D 840 with those of Beethoven’s piano sonata No. 8 (op. 13) which is one of the possible precursors for D 840. The second movement of D 840 features an ABABA structure in which the themes of the first part A and the first part B become integrated into the second part A. This kind of integration differs fundamentally from the design of Beethoven’s op. 13, insofar as the two themes are combined while they also maintain their initial form. This mode of combination suggests Schubert’s own type of synthetic or “processual” thinking.

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