Despite many scholars having explored Beethoven’s compositional rhythmic processes, no systematic study has been done in this regard for the sketches for String Quartet Op. 127, and any mention of rhythm in the current literature tends to be incidental. I combine the theories of Rothstein, Krebs and others, an approach that has been more effective in understanding the changes during the compositional process from metrical and hypermetrical perspectives. I examine how Beethoven’s rhythmic patterns add to both musical coherence and contrast. My thesis demonstrates that Beethoven’s starting point is usually a conventional 8- or 16-measure phrase; later, according to the sketches, he makes rhythmic adjustments, such as grouping dissonances, expansions, or displacements, using a variety of parameters. Also added later are rhythmic patterns that individualize each of the four instruments. These processes are found throughout the two movements studied. Therefore, rhythm and its manipulations are used as unifying features.
| Identifer | oai:union.ndltd.org:bu.edu/oai:open.bu.edu:2144/46229 |
| Date | 22 May 2023 |
| Creators | Li, Wanyi |
| Contributors | Burton, Deborah, Yust, Jason |
| Source Sets | Boston University |
| Language | en_US |
| Detected Language | English |
| Type | Thesis/Dissertation |
Page generated in 0.0026 seconds