| Author | Title | Year | Journal/Proceedings | Reftype | DOI/URL |
|---|---|---|---|---|---|
| Adelson, R. | Beethoven's String Quartet in E Flat Op. 127: A Study of the First Performances [BibTeX] |
1998 | Music & Letters | article | URL |
BibTeX:
@article{adelson1998,
author = {Adelson, Robert},
title = {Beethoven's String Quartet in E Flat Op. 127: A Study of the First Performances},
journal = {Music & Letters},
publisher = {Oxford University Press},
year = {1998},
volume = {79},
number = {2},
pages = {219--243},
url = {http://www.jstor.org/stable/854954}
}
|
|||||
| Badura-Skoda, P. | A Tie Is a Tie Is a Tie: Reflections on Beethoven's Pairs of Tied Notes [BibTeX] |
1988 | Early Music | article | URL |
BibTeX:
@article{badura-skoda1988,
author = {Badura-Skoda, Paul},
title = {A Tie Is a Tie Is a Tie: Reflections on Beethoven's Pairs of Tied Notes},
journal = {Early Music},
publisher = {Oxford University Press},
year = {1988},
volume = {16},
number = {1},
pages = {84--88},
url = {http://www.jstor.org/stable/3127050}
}
|
|||||
| Broyles, M. | Beethoven, Symphony No. 8 [BibTeX] |
1982 | 19th-Century Music | article | URL |
BibTeX:
@article{broyles1982,
author = {Broyles, Michael},
title = {Beethoven, Symphony No. 8},
journal = {19th-Century Music},
publisher = {University of California Press},
year = {1982},
volume = {6},
number = {1},
pages = {39--46},
url = {http://www.jstor.org/stable/746230}
}
|
|||||
| Cook, N. | The Other Beethoven: Heroism, the Canon, and the Works of 1813-14 | 2003 | 19th-Century Music | article | URL |
| Abstract: Among Beethoven's works are a number that were highly successful in their own time but that became an embarrassment to later critics. In this article I explore the critical strategies used to explain away the success of two such works, "Wellingtons Sieg" and "Der glorreiche Augenblick"--works marginalized by the "Beethoven Hero" paradigm that came to regulate critical interpretation of the composer's music as well as underwriting the Beethovenian canon. I also explore ways in which such noncanonic works might be reexperienced, reading "Wellingtons Sieg" in terms of an aesthetic of hyper-representation and "Der glorreiche Augenblick" in terms of the enactment of community: such approaches, I argue, give access to aspects of Beethoven's music that the "Beethoven Hero" paradigm suppressed. | |||||
BibTeX:
@article{cook2003,
author = {Cook, Nicholas},
title = {The Other Beethoven: Heroism, the Canon, and the Works of 1813-14},
journal = {19th-Century Music},
publisher = {University of California Press},
year = {2003},
volume = {27},
number = {1},
pages = {3--24},
url = {http://www.jstor.org/stable/1555197}
}
|
|||||
| Cook, N. | Beethoven's Unfinished Piano Concerto: A Case of Double Vision? | 1989 | Journal of the American Musicological Society | article | URL |
| Abstract: During 1814-15 Beethoven sketched the first movement of a piano concerto, writing out a considerable proportion of it in full score. Some of the curious stylistic features that have been ascribed to this movement are the consequence of a faulty reading of MS Artaria 184, in which open-score sketches have been bound in with the autograph score. One curious feature, however, remains: the symphonic nature of the materials. There is some reason to believe that, because of this, Beethoven considered deleting the tutti exposition, resulting in a symphonic work with obbligato piano. Such indecision at a late stage in the compositional process could explain why Beethoven abandoned the work. | |||||
BibTeX:
@article{cook1989,
author = {Cook, Nicholas},
title = {Beethoven's Unfinished Piano Concerto: A Case of Double Vision?},
journal = {Journal of the American Musicological Society},
publisher = {University of California Press on behalf of the American Musicological Society},
year = {1989},
volume = {42},
number = {2},
pages = {338--374},
url = {http://www.jstor.org/stable/831659}
}
|
|||||
| Cooper, B. | Beethoven's Portfolio of Bagatelles [BibTeX] |
1986 | Journal of the Royal Musical Association | article | URL |
BibTeX:
@article{cooper1986,
author = {Cooper, Barry},
title = {Beethoven's Portfolio of Bagatelles},
journal = {Journal of the Royal Musical Association},
publisher = {Oxford University Press on behalf of the Royal Musical Association},
year = {1986},
volume = {112},
number = {2},
pages = {208--228},
url = {http://www.jstor.org/stable/797939}
}
|
|||||
| DeNora, T. | Deconstructing Periodization: Sociological Methods and Historical Ethnography in Late Eighteenth-Century Vienna. | 1995 | Beethoven Forum (University of Nebraska Press) | article | URL |
| Abstract: Discusses the sociological methods and historical ethnography related to composer Ludwig van Beethoven in late eighteenth century Vienna, Austria. Details on the experiment conducted by sociologist Harold Garfinkel in 1962; Discussion on the essay written by Maynard Solomon on Beethoven; Information on Beethoven's biography written by his support network in 1790s. | |||||
BibTeX:
@article{denoraDeconstructingPeriodization1995,
author = {DeNora, Tia},
title = {Deconstructing Periodization: Sociological Methods and Historical Ethnography in Late Eighteenth-Century Vienna.},
journal = {Beethoven Forum (University of Nebraska Press)},
year = {1995},
volume = {4},
number = {1},
pages = {p1 - },
url = {http://library.louisiana.edu/cgi-bin/proxy?http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=6440956&site=ehost-live}
}
|
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| Downes, S. | Musical Pleasures and Amorous Passions: Stendhal, the Crystallization Process, and Listening to Rossini and Beethoven | 2003 | 19th-Century Music | article | URL |
| Abstract: In "De l'Amour" (1822) Stendhal elaborated his idea of the "crystallization" process in which the distant beloved assumes qualities of ideal beauty in the imagination of the male lover. He also states that "the habit of listening to music and the state of reverie connected with it prepare one for falling in love" and, furthermore, that "perfect music has the same effect on the heart as the presence of the beloved. It gives, in fact, apparently more intense pleasure than anything else on earth." These erotic pleasures he identified most consistently and enthusiastically with the music of Rossini. This article takes Stendhal's related notions of love and the sensual immediacy of musical pleasures as models to develop an analytical and hermeneutic approach to musical examples of amour passion. This allows a new reassessment of Rossini's supposed predicament on the "Other" side of Dahlhaus's "unbridgeable rift" from the music of Beethoven and provides a critique of the relationship between the "heroic" male subject with his inspirational beloved. Examples are drawn from Rossini's "Tancredi" (1813) and "William Tell" (1829), and Beethoven's "An die ferne Geliebte" (1810), "Fidelio," and "Les Adieux," Piano Sonata, op. 81a (1807). | |||||
BibTeX:
@article{RefWorks:1,
author = {Stephen Downes},
title = {Musical Pleasures and Amorous Passions: Stendhal, the Crystallization Process, and Listening to Rossini and Beethoven},
journal = {19th-Century Music},
year = {2003},
volume = {26},
number = {3},
pages = {235-257},
url = {http://www.jstor.org/stable/1555182}
}
|
|||||
| Downs, P. G. | Beethoven's "New Way" and the "Eroica" [BibTeX] |
1970 | The Musical Quarterly | article | URL |
BibTeX:
@article{downs1970,
author = {Downs, Philip G.},
title = {Beethoven's "New Way" and the "Eroica"},
journal = {The Musical Quarterly},
publisher = {Oxford University Press},
year = {1970},
volume = {56},
number = {4},
pages = {585--604},
url = {http://www.jstor.org/stable/740928}
}
|
|||||
| Drabkin, W. | The Cello Part in Beethoven's Late Quartets. | 1999 | Beethoven Forum (University of Nebraska Press) | article | URL |
| Abstract: Analyzes how the cello functions in Ludwig van Beethoven's late quartets. Roles of the cello; Synthesis of Haydn's and Mozart's melodic cello writing; Conflicts of function and register of cello part in string quartets; Changes in the way the cello functions that do not actually result in the blurring of roles. | |||||
BibTeX:
@article{drabkin1999,
author = {Drabkin, William},
title = {The Cello Part in Beethoven's Late Quartets.},
journal = {Beethoven Forum (University of Nebraska Press)},
year = {1999},
volume = {7},
number = {1},
pages = {p45 - },
url = {http://library.louisiana.edu/cgi-bin/proxy?http://biere.louisiana.edu:2075/login.aspx?direct=true&db=a9h&AN=6446602&site=ehost-live}
}
|
|||||
| Ealy, G. T. | Of Ear Trumpets and a Resonance Plate: Early Hearing Aids and Beethoven's Hearing Perception [BibTeX] |
1994 | 19th-Century Music | article | URL |
BibTeX:
@article{ealy1994,
author = {Ealy, George Thomas},
title = {Of Ear Trumpets and a Resonance Plate: Early Hearing Aids and Beethoven's Hearing Perception},
journal = {19th-Century Music},
publisher = {University of California Press},
year = {1994},
volume = {17},
number = {3},
pages = {262--273},
url = {http://www.jstor.org/stable/746569}
}
|
|||||
| Frohlich, M. | Beethoven's Piano Sonata in F Major Op. 54, Second Movement: The Final Version and Sketches [BibTeX] |
2001 | The Journal of Musicology | article | URL |
BibTeX:
@article{frohlich2001,
author = {Frohlich, Martha},
title = {Beethoven's Piano Sonata in F Major Op. 54, Second Movement: The Final Version and Sketches},
journal = {The Journal of Musicology},
publisher = {University of California Press},
year = {2001},
volume = {18},
number = {1},
pages = {98--128},
url = {http://www.jstor.org/stable/763947}
}
|
|||||
| Head, M. | Beethoven Heroine: A Female Allegory of Music and Authorship in Egmont | 2006 | 19th-Century Music | article | DOIURL |
| Abstract: Almost a decade ago, Sanna Pederson observed that the heroic in the posthumous reception of Beet-hoven's life and music functions as a sign of the composer's unassailable masculinity. What Pederson did not explore, however, is how the construction of the heroic in Beethoven's works courts androgyny and so exhibits flexibility in precisely the realm of sex/gender that ossified after his death. In Beethoven's dramatic music, cross-dressed heroines move center stage, and their music courts a mixture of masculine and feminine signs that is not simply descriptive of their transvestism. Admittedly, female heroism in Beethoven's dramatic music is associated with conjugal fidelity (Leonore in Fidelio) and with the nationalist defense of Prussia against French invasion (Leonore Prohaska in Beethoven's incidental music of that name), but it also functioned as an allegory of the semiautonomous male artist and of transcendent authorship. Precisely because women were subject to severe constraints on their public actions, heroines who broke through those constraints were emblems of freedom. At the boundary of the real and the symbolic, women who transgressed sexual and gendered norms could serve as epitomes of transcendence in the aesthetic sphere. A case study of Beethoven's incidental music to Goethe's Egmont traces a metonymic chain linking the lead female character Klrchen to music, heroic overcoming, and authorship. Much of the music Beethoven composed for the play was for, or associated with, Klrchen, who comes to embody music and its production. Through music, Egmont is lulled to sleep in the concluding dungeon scene. And in this sleep, Klrchen appears to him as "Liberty," hovering on a cloud above the stage to a shimmering A-major-seventh chord. Communicating to the dozing hero through wordless musical pictorialism, she offers a glimpse of what in contemporary idealist aesthetics was music's otherworldly source. | |||||
BibTeX:
@article{head2006,
author = {Head,Matthew},
title = {Beethoven Heroine: A Female Allegory of Music and Authorship in Egmont},
journal = {19th-Century Music},
year = {2006},
volume = {30},
number = {2},
pages = {097-132},
url = {http://caliber.ucpress.net/doi/abs/10.1525/ncm.2006.30.2.097},
doi = {http://dx.doi.org/10.1525/ncm.2006.30.2.097}
}
|
|||||
| Headlam, D. | A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1 [BibTeX] |
1985 | Music Theory Spectrum | article | URL |
BibTeX:
@article{1985,
author = {Headlam, Dave},
title = {A Rhythmic Study of the Exposition in the Second Movement of Beethoven's Quartet Op. 59, No. 1},
journal = {Music Theory Spectrum},
publisher = {University of California Press on behalf of the Society for Music Theory},
year = {1985},
volume = {7},
pages = {114--138},
url = {http://www.jstor.org/stable/745883}
}
|
|||||
| Hepokoski, J. | Beyond the Sonata Principle | 2002 | Journal of the American Musicological Society | article | URL |
| Abstract: This essay provides a concept-history, a close examination, and a testing of the much invoked "sonata principle" (Edward T. Cone, 1967-68), while also introducing a new, contrasting mode of analysis ("Sonata Theory") for sonata-form compositions from the decades around 1800. Within these compositions it was a common expectation that (nontonic) secondary- and closing-material from the exposition would normally be restated in the tonic in the corresponding place in the recapitulation. In mid- and late-twentieth-century English-language analysis (in response to shifting analytical paradigms), this expectation came to be inflated into differing recastings of a much freer, more encompassing "sonata principle" that, at least initially, was proposed to be the "unifying [and] underlying... principle for the Classical style." Some of the attractions of this idea included its claims to midcentury academic sophistication, its protean flexibility, and its ability to provide quick solutions to otherwise "difficult" moments within highly regarded compositions. Anticipated by the caveats of other writers, this article calls attention to the principle's limitations and the ways in which it has been imprecisely laid out or misapplied in influential writing. In a few comparative analyses I also present aspects of a more hermeneutically productive mode of analytical questioning "beyond the sonata principle." | |||||
BibTeX:
@article{2002,
author = {Hepokoski, James},
title = {Beyond the Sonata Principle},
journal = {Journal of the American Musicological Society},
publisher = {University of California Press on behalf of the American Musicological Society},
year = {2002},
volume = {55},
number = {1},
pages = {91--154},
url = {http://www.jstor.org/stable/831780}
}
|
|||||
| Hepokoski, J. | Masculine. Feminine. Are Current Readings of Sonata Form in Terms of a 'Masculine' and 'Feminine' Dichotomy Exaggerated? James Hepokoski Argues for a More Subtle Approach to the Politics of Musical Form [BibTeX] |
1994 | The Musical Times | article | URL |
BibTeX:
@article{1994,
author = {Hepokoski, James},
title = {Masculine. Feminine. Are Current Readings of Sonata Form in Terms of a 'Masculine' and 'Feminine' Dichotomy Exaggerated? James Hepokoski Argues for a More Subtle Approach to the Politics of Musical Form},
journal = {The Musical Times},
publisher = {Musical Times Publications Ltd.},
year = {1994},
volume = {135},
number = {1818},
pages = {494--499},
url = {http://www.jstor.org/stable/1003328}
}
|
|||||
| Hinton, S. | Not "Which" Tones? The Crux of Beethoven's Ninth [BibTeX] |
1998 | 19th-Century Music | article | URL |
BibTeX:
@article{hinton1998,
author = {Hinton, Stephen},
title = {Not "Which" Tones? The Crux of Beethoven's Ninth},
journal = {19th-Century Music},
publisher = {University of California Press},
year = {1998},
volume = {22},
number = {1},
pages = {61--77},
url = {http://www.jstor.org/stable/746792}
}
|
|||||
| Jonas, O. & Beethoven, L. v. | A Lesson with Beethoven by Correspondence [BibTeX] |
1952 | The Musical Quarterly | article | URL |
BibTeX:
@article{jonas1952,
author = {Jonas, Oswald and Beethoven, Ludwig van},
title = {A Lesson with Beethoven by Correspondence},
journal = {The Musical Quarterly},
publisher = {Oxford University Press},
year = {1952},
volume = {38},
number = {2},
pages = {215--221},
url = {http://www.jstor.org/stable/739654}
}
|
|||||
| Kinderman, W. | The Evolution of Beethoven's Late Style: Another 'New Path' after 1824? | 2000 | Beethoven Forum (University of Nebraska Press) | article | URL |
| Abstract: Explores the stylistic evolution of composer Ludwig van Beethoven. Period where the most celebrated stylistic shift in Beethoven's music occurred; Chronology of his later works; Motivic distillation of Beethoven's codas; Use of the cadenza. | |||||
BibTeX:
@article{kinderman2000,
author = {Kinderman, William},
title = {The Evolution of Beethoven's Late Style: Another 'New Path' after 1824?},
journal = {Beethoven Forum (University of Nebraska Press)},
year = {2000},
volume = {8},
number = {1},
pages = {p71 - },
url = {http://library.louisiana.edu/cgi-bin/proxy?http://biere.louisiana.edu:2075/login.aspx?direct=true&db=a9h&AN=4030661&site=ehost-live}
}
|
|||||
| Kinkeldey, O. | Beginnings of Beethoven in America [BibTeX] |
1927 | The Musical Quarterly | article | URL |
BibTeX:
@article{Kinkeldy1927,
author = {Kinkeldey, Otto},
title = {Beginnings of Beethoven in America},
journal = {The Musical Quarterly},
publisher = {Oxford University Press},
year = {1927},
volume = {13},
number = {2},
pages = {217--248},
url = {http://www.jstor.org/stable/738410}
}
|
|||||
| Kirkendale, W. | The "Great Fugue" Op.133: Beethoven's "Art of Fugue" [BibTeX] |
1963 | Acta Musicologica | article | URL |
BibTeX:
@article{kirkendale1963,
author = {Kirkendale, Warren},
title = {The "Great Fugue" Op.133: Beethoven's "Art of Fugue"},
journal = {Acta Musicologica},
publisher = {International Musicological Society},
year = {1963},
volume = {35},
number = {1},
pages = {14--24},
url = {http://www.jstor.org/stable/931606}
}
|
|||||
| Knapp, R. | A Tale of Two Symphonies: Converging Narratives of Divine Reconciliation in Beethoven's Fifth and Sixth | 2000 | Journal of the American Musicological Society | article | URL |
| Abstract: Owen Jander's recent observation that the concluding birdcalls in the second movement of Beethoven's Pastoral Symphony reproduce the opening motive of his Fifth provides a starting point for considering the two symphonies together. Evidence derived from analysis, sketches, and compositional-biographical circumstances is used to establish and illuminate a process of modeling in which the Sixth Symphony adopts the procedural innovations of the Fifth while inverting their affective impact. Possible rationales for this modeling include Beethoven's preoccupation with transmutational variation and his desire to make the Pastoral more symphonic. More intriguingly, the modeling underscores parallel scenarios of divine reconciliation in the two symphonies, a theme shared more generally by the other works performed on the occasion of their public premieres in December 1808. In the Fifth, the struggle against Fate often heard in the first movement is resolved through the penitential march of the scherzo, while the "theophanic" storm movement in the Sixth (Richard Will's reading is extended here to account for the enigmatic birdcalls, whose "message" is echoed more pressingly in the scherzo) reorients secular appreciations of nature and country life toward thankful devotion. In each work, the celebratory finale rectifies an established schism between humanity and God. | |||||
BibTeX:
@article{knapp2000,
author = {Knapp, Raymond},
title = {A Tale of Two Symphonies: Converging Narratives of Divine Reconciliation in Beethoven's Fifth and Sixth},
journal = {Journal of the American Musicological Society},
publisher = {University of California Press on behalf of the American Musicological Society},
year = {2000},
volume = {53},
number = {2},
pages = {291--343},
url = {http://www.jstor.org/stable/832010}
}
|
|||||
| Knittel, K. M. | "Polemik im Concertsaal": Mahler, Beethoven, and the Viennese Critics | 2006 | 19th-Century Music | article | URL |
| Abstract: "Polemic in the Concert Hall": the title of Richard Heuberger's article in the Neue freie Presse refers in no uncertain terms to the uproar surrounding Mahler's performances of Beethoven's Ninth Symphony in Vienna. The two performances, on 18 and 22 February 1900, used Mahler's own orchestral retouchings of Beethoven's work, and Mahler's biographers have often identified these concerts as the first sustained attacks by the press, attacks that would, over time, only continue to increase in severity and frequency. When these concerts are placed into the context of reactions to Mahler's other Philharmonic concerts, however, this narrative of a "fall from grace" proves impossible to sustain. Not only was Mahler denounced for reorchestrating other works from his very first concert with the Vienna Philharmonic, but the language used to do so remained consistent throughout Mahler's tenure. Mahler, as a Jew, was not perceived as having the "right" to "improve" Beethoven-or any other composer for that matter. Although not overtly anti-Semitic, the language of the reviews resembles that found in Wagner's essay "Das Judentum in der Musik," where he outlines the Jewish composer's supposed handicaps: an emphasis on detail to the detriment of the whole, the prevalence of intellect over feeling, and an understanding of culture as merely "learnt" but never "mother tongue." An examination of the critical reactions points out these similarities while also suggesting that, particularly given Wagner's own suggestions (in 1873) for the reorchestration of Beethoven's symphony, the uproar had very little to do with what anyone heard. | |||||
BibTeX:
@article{knittel2006,
author = {Knittel, K. M.},
title = {"Polemik im Concertsaal": Mahler, Beethoven, and the Viennese Critics},
journal = {19th-Century Music},
publisher = {University of California Press},
year = {2006},
volume = {29},
number = {3},
pages = {289--321},
url = {http://www.jstor.org/stable/4138613}
}
|
|||||
| Knittel, K. M. | 'Late', Last, and Least: On Being Beethoven's Quartet in F Major, op. 135 | 2006 | Music & Letters | article | URL |
| Abstract: Beethoven's last completed work, the string quartet in F major, Op. 135, perhaps best exemplifies the chaos unleashed by the Beethoven myth. It fails to live up to most critics' and analysts' expectations of a Schwanengesang. A critical examination of its treatment allows us to see how often we attempt to write the story of Beethoven Hero, even if the evidence does not fit. Op. 135 forces us to ask why, in the case of Beethoven, we insist that Beethoven's life and works must form a symbiotic relationship. | |||||
BibTeX:
@article{knittelOp135-2006,
author = {Knittel, K. M.},
title = {'Late', Last, and Least: On Being Beethoven's Quartet in F Major, op. 135},
journal = {Music & Letters},
publisher = {Oxford University Press},
year = {2006},
volume = {87},
number = {1},
pages = {16--51},
url = {http://www.jstor.org/stable/3526413}
}
|
|||||
| Knittel, K. M. | Pilgrimages to Beethoven: Reminiscences by His Contemporaries | 2003 | Music & Letters | article | URL |
| Abstract: The reminiscences that recount visits to Beethoven have been treated primarily as sources of biographical information, and there has been much scholarly concern regarding their trustworthiness as historical documents. A significant number, however, use a single plot, that of a quest or pilgrimage, indicating that, in all likelihood, most have been shaped and embroidered by their authors. Precisely because they have been 'fictionalized', these narratives can provide insight into how and why the Beethoven myth managed to overpower history. The article suggests some reasons why the authors' insistence on-and our acceptance of-Beethoven's inaccessibility might be so seductive. | |||||
BibTeX:
@article{knittel2003,
author = {Knittel, K. M.},
title = {Pilgrimages to Beethoven: Reminiscences by His Contemporaries},
journal = {Music & Letters},
publisher = {Oxford University Press},
year = {2003},
volume = {84},
number = {1},
pages = {19--54},
url = {http://www.jstor.org/stable/3525878}
}
|
|||||
| Knittel, K. M. | Beethoven as History. | 2000 | Beethoven Forum (University of Nebraska Press) | article | URL |
| Abstract: Reviews two books about composer Ludwig van Beethoven. `Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803,' by Tia DeNora; `Beethoven in German Politics, 1870-1989,' by David B. Dennis. | |||||
BibTeX:
@article{knittel2000,
author = {Knittel, K. M.},
title = {Beethoven as History.},
journal = {Beethoven Forum (University of Nebraska Press)},
year = {2000},
volume = {8},
number = {1},
pages = {p177 - },
url = {http://library.louisiana.edu/cgi-bin/proxy?http://biere.louisiana.edu:2075/login.aspx?direct=true&db=a9h&AN=4030727&site=ehost-live}
}
|
|||||
| Knittel, K. M. | Wagner, Deafness, and the Reception of Beethoven's Late Style | 1998 | Journal of the American Musicological Society | article | URL |
| Abstract: The belief that Beethoven's "late" or "third-period" works represent the pinnacle of his achievement is at odds with the earliest critical views of these pieces. In the decades just following the composer's death, critics could not separate the perceived musical problems of the late style from Beethoven's physical ailments. While the common explanation for the elevation of these last pieces to their current position of privilege has been a musical one-the works were written before their time, demanding considerable study before they were fully understood and appreciated-I propose that it was a new understanding of Beethoven's biography that led to their veneration. Richard Wagner, in his 1870 Beethoven essay, radically reinterpreted the influence of deafness, claiming that it was in fact the source of Beethoven's creativity and genius. This paper explores Wagner's romanticization of Beethoven's deafness and speculates as to why such a paradoxical position may have appealed not just to Wagner, but to the critics who followed him. | |||||
BibTeX:
@article{knittel1998,
author = {Knittel, K. M.},
title = {Wagner, Deafness, and the Reception of Beethoven's Late Style},
journal = {Journal of the American Musicological Society},
publisher = {University of California Press on behalf of the American Musicological Society},
year = {1998},
volume = {51},
number = {1},
pages = {49--82},
url = {http://www.jstor.org/stable/831897}
}
|
|||||
| Kramer, R. | Lisch aus, mein Licht: Song, Fugue, and the Symptoms of a Late Style. | 1999 | Beethoven Forum (University of Nebraska Press) | article | URL |
| Abstract: Examines the inscription written by Ludwig van Beethoven in the Boldrini Sketchbook for the song 'Resignation.' Contents of the sketchbook; Information on the song 'Fugue for String Quintet,' composed by Beethoven; Views from Beethoven about fugue. | |||||
BibTeX:
@article{kramer1999,
author = {Kramer, Richard},
title = {Lisch aus, mein Licht: Song, Fugue, and the Symptoms of a Late Style.},
journal = {Beethoven Forum (University of Nebraska Press)},
year = {1999},
volume = {7},
number = {1},
pages = {p67 - },
url = {http://library.louisiana.edu/cgi-bin/proxy?http://biere.louisiana.edu:2075/login.aspx?direct=true&db=a9h&AN=6446627&site=ehost-live}
}
|
|||||
| Mann, A. | Beethoven's Contrapuntal Studies with Haydn [BibTeX] |
1970 | The Musical Quarterly | article | URL |
BibTeX:
@article{mann1970,
author = {Mann, Alfred},
title = {Beethoven's Contrapuntal Studies with Haydn},
journal = {The Musical Quarterly},
publisher = {Oxford University Press},
year = {1970},
volume = {56},
number = {4},
pages = {711--726},
url = {http://www.jstor.org/stable/740934}
}
|
|||||
| Marston, N. | Approaching the Sketches for Beethoven's "Hammerklavier" Sonata | 1991 | Journal of the American Musicological Society | article | URL |
| Abstract: Contrary to his usual procedure, Beethoven seems to have composed the "Hammerklavier" Sonata without the aid of a desk (or standard-format) sketchbook: the surviving desk sketches for the sonata are to be found on a number of loose leaves and bifolia only. An examination of the concordances between these sources, some of which are introduced here for the first time, and the pocket sketchbooks containing material for the sonata makes it possible to place the loose desk leaves in a tentative order, and thus lays the foundations for a future study of the genesis of the sonata. The present study also uses the pocket sketchbooks to identify previously unsuspected desk sketches for the sonata, and traces the persistence in these of early plans for the tonal structure of the work. | |||||
BibTeX:
@article{marston1991,
author = {Marston, Nicholas},
title = {Approaching the Sketches for Beethoven's "Hammerklavier" Sonata},
journal = {Journal of the American Musicological Society},
publisher = {University of California Press on behalf of the American Musicological Society},
year = {1991},
volume = {44},
number = {3},
pages = {404--450},
url = {http://www.jstor.org/stable/831645}
}
|
|||||
| Marston, N. | Trifles or a Multi-Trifle? Beethoven's Bagatelles, Op. 119, Nos 7-11 [BibTeX] |
1986 | Music Analysis | article | URL |
BibTeX:
@article{marston1986,
author = {Marston, Nicholas},
title = {Trifles or a Multi-Trifle? Beethoven's Bagatelles, Op. 119, Nos 7-11},
journal = {Music Analysis},
publisher = {Blackwell Publishing},
year = {1986},
volume = {5},
number = {2/3},
pages = {193--206},
url = {http://www.jstor.org/stable/854185}
}
|
|||||
| Micznik, V. | Music and Narrative Revisited: Degrees of Narrativity in Beethoven and Mahler | 2001 | Journal of the Royal Musical Association | article | URL |
| Abstract: This study presents an attempt to pin down the potential narrative qualities of instrumental, wordless music. Comparing as case-studies two pieces in sonata form - the first movements of Beethoven's 'Pastoral' Symphony (as representative of Classical narrative possibilities) and of Mahler's Ninth Symphony (as representative of its composer's idiosyncratic treatment of those in the late nineteenth century) -I propose a 'narrative' analysis of their musical features, applying the notions of 'story', 'discourse' and other concepts from the literary theory of, for example, Genette, Prince and Barthes. An analysis at three semiotic levels (morphological, syntactic and semantic), corresponding to denotative/connotative levels of meaning, shows that Mahler's materials qualify better as narrative 'events' on account of their greater number, their individuality and their rich semantic connotations. Through analysis of the 'discursive techniques' of the two pieces I show that a weaker degree of narrativity corresponds to music in which the developmental procedures are mostly based on tonal musical syntax (as in the Classical style), whereas a higher degree of narrativity corresponds to music in which, in addition to semantic transformations of the materials, discourse itself relies more on gestural semantic connotations (as in Mahler). | |||||
BibTeX:
@article{micznik2001,
author = {Micznik, Vera},
title = {Music and Narrative Revisited: Degrees of Narrativity in Beethoven and Mahler},
journal = {Journal of the Royal Musical Association},
publisher = {Oxford University Press on behalf of the Royal Musical Association},
year = {2001},
volume = {126},
number = {2},
pages = {193--249},
url = {http://www.jstor.org/stable/3557481}
}
|
|||||
| Moore, J. | Beethoven and Inflation. | 1992 | Beethoven Forum (University of Nebraska Press) | article | URL |
| Abstract: Argues that scholars on the life of composer Ludwig von Beethoven should include the factor of high inflation in Vienna, Austria during his time to understand his financial status. Controversy about the financial status of Beethoven before his death; Donation sought by Beethoven from the London Philharmonic Society; Reaction of the Viennese government to solicitation of Beethoven. | |||||
BibTeX:
@article{moore1992,
author = {Moore, Julia},
title = {Beethoven and Inflation.},
journal = {Beethoven Forum (University of Nebraska Press)},
year = {1992},
volume = {1},
number = {1},
pages = {p191 - },
url = {http://library.louisiana.edu/cgi-bin/proxy?http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=6447518&site=ehost-live}
}
|
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| Ockelford, A. | Relating Musical Structure and Content to Aesthetic Response: A Model and Analysis of Beethoven's Piano Sonata Op. 110 | 2005 | Journal of the Royal Musical Association | article | URL |
| Abstract: A model is presented which aims to show how, for listeners familiar with a given style, aesthetic response to music may be related to its 'structure' (as defined in relation to 'zygonic' theory) and 'content' (the particular perceived qualities of sound that pertain to a given musical event). The model combines recent empirical findings from music psychology with other approaches adapted from music theory and philosophy. Intra-musical considerations, which form the core of the model, are positioned within a broader socio-cultural, cognitive and physical context. The new framework is used to inform an analysis of Beethoven's Piano Sonata op. 110, which examines in particular the notions of teleology in music and narrative metaphor. | |||||
BibTeX:
@article{ockelford2005,
author = {Ockelford, Adam},
title = {Relating Musical Structure and Content to Aesthetic Response: A Model and Analysis of Beethoven's Piano Sonata Op. 110},
journal = {Journal of the Royal Musical Association},
publisher = {Oxford University Press on behalf of the Royal Musical Association},
year = {2005},
volume = {130},
number = {1},
pages = {74--118},
url = {http://www.jstor.org/stable/3557458}
}
|
|||||
| Rosenblum, S. P. | Two Sets of Unexplored Metronome Marks for Beethoven's Piano Sonatas [BibTeX] |
1988 | Early Music | article | URL |
BibTeX:
@article{rosenblum1988,
author = {Rosenblum, Sandra P.},
title = {Two Sets of Unexplored Metronome Marks for Beethoven's Piano Sonatas},
journal = {Early Music},
publisher = {Oxford University Press},
year = {1988},
volume = {16},
number = {1},
pages = {59--71},
url = {http://www.jstor.org/stable/3127048}
}
|
|||||
| Sanders, E. H. | The Sonata-Form Finale of Beethoven's Ninth Symphony [BibTeX] |
1998 | 19th-Century Music | article | URL |
BibTeX:
@article{sanders1998,
author = {Sanders, Ernest H.},
title = {The Sonata-Form Finale of Beethoven's Ninth Symphony},
journal = {19th-Century Music},
publisher = {University of California Press},
year = {1998},
volume = {22},
number = {1},
pages = {54--60},
url = {http://www.jstor.org/stable/746791}
}
|
|||||
| Schachter, C. & Beethoven | Beethoven's "Sketches for the First Movement of Op. 14, No. 1: A Study in Design" [BibTeX] |
1982 | Journal of Music Theory | article | URL |
BibTeX:
@article{schachter1982,
author = {Schachter, Carl and Beethoven},
title = {Beethoven's "Sketches for the First Movement of Op. 14, No. 1: A Study in Design"},
journal = {Journal of Music Theory},
publisher = {Duke University Press on behalf of the Yale University Department of Music},
year = {1982},
volume = {26},
number = {1},
pages = {1--21},
url = {http://www.jstor.org/stable/843353}
}
|
|||||
| Schmalfeldt, J. & Beethoven | On the Relation of Analysis to Performance: Beethoven's "Bagatelles" Op. 126, Nos. 2 and 5 [BibTeX] |
1985 | Journal of Music Theory | article | URL |
BibTeX:
@article{schmalfeldt1985,
author = {Schmalfeldt, Janet and Beethoven},
title = {On the Relation of Analysis to Performance: Beethoven's "Bagatelles" Op. 126, Nos. 2 and 5},
journal = {Journal of Music Theory},
publisher = {Duke University Press on behalf of the Yale University Department of Music},
year = {1985},
volume = {29},
number = {1},
pages = {1--31},
url = {http://www.jstor.org/stable/843369}
}
|
|||||
| Silliman, A. C. & Beethoven | Familiar Music and the a priori: Beethoven's "Seventh Symphony" [BibTeX] |
1976 | Journal of Music Theory | article | URL |
BibTeX:
@article{silliman1976,
author = {Silliman, A. Cutler and Beethoven},
title = {Familiar Music and the a priori: Beethoven's "Seventh Symphony"},
journal = {Journal of Music Theory},
publisher = {Duke University Press on behalf of the Yale University Department of Music},
year = {1976},
volume = {20},
number = {2},
pages = {215--226},
url = {http://www.jstor.org/stable/843685}
}
|
|||||
| Solomon, M. | Beethoven, Freemasonry, and the Tagebuch of 1812-1818. | 2000 | Beethoven Forum (University of Nebraska Press) | article | URL |
| Abstract: Examines some of the free masonry implications of composer Ludwig van Beethoven's Tegebuch of 1812 to 1818. Link of Beethoven to free masonry; Mason poets admired by Beethoven; Association of Beethoven with members of masonic orders; Document from Beethoven supporting his masonic references. | |||||
BibTeX:
@article{solomon2000,
author = {Solomon, Maynard},
title = {Beethoven, Freemasonry, and the Tagebuch of 1812-1818.},
journal = {Beethoven Forum (University of Nebraska Press)},
year = {2000},
volume = {8},
number = {1},
pages = {p101 - },
url = {http://library.louisiana.edu/cgi-bin/proxy?http://biere.louisiana.edu:2075/login.aspx?direct=true&db=a9h&AN=4030663&site=ehost-live}
}
|
|||||
| Solomon, M. | On Beethoven's Creative Process: A Two-Part Invention [BibTeX] |
1980 | Music & Letters | article | URL |
BibTeX:
@article{solomon1980,
author = {Solomon, Maynard},
title = {On Beethoven's Creative Process: A Two-Part Invention},
journal = {Music & Letters},
publisher = {Oxford University Press},
year = {1980},
volume = {61},
number = {3/4},
pages = {272--283},
url = {http://www.jstor.org/stable/734569}
}
|
|||||
| Straus, J. N. | Normalizing the Abnormal: Disability in Music and Music Theory | 2006 | Journal of the American Musicological Society | article | |
| Abstract: The emerging interdisciplinary field of disability studies takes as its subject matter the historical, social, and cultural construction of disability. After a brief introduction to disability studies, this article explores the interconnected histories of disability and music as they are manifested in three theoretical approaches to late eighteenth- and early nineteenth-century Western art music (the musical Formenlehre and the tonal theories of Schoenberg and Schenker) and in three works by Beethoven and Schubert. Around the turn of the nineteenth century in Western Europe, disability began to be understood not as something natural and permanent but rather as a deviation from a normative standard, and thus subject to possible remediation. In the same time and place, art music also underwent a significant shift (reflected in the more recent theoretical traditions that have grown up around it), one that involved an increasing interest in rhetorically marked deviations from diatonic and formal normativity, and the possibility of their narrative recuperation. The article describes ways in which language about music and music itself may be understood both to represent and construct disability. More generally, it suggests that disability should take its place alongside nationality, ethnicity, class, gender, and sexual orientation as a significant category for cultural analysis, including the analysis of music. | |||||
BibTeX:
@article{straus2006,
author = {Straus, Joseph N.},
title = {Normalizing the Abnormal: Disability in Music and Music Theory},
journal = {Journal of the American Musicological Society},
publisher = {University of California Press on behalf of the American Musicological Society},
year = {2006},
volume = {59},
number = {1},
pages = {113--184}
}
|
|||||
| Taruskin, R. | Review: Resisting the Ninth [BibTeX] |
1989 | 19th-Century Music | article | URL |
BibTeX:
@article{taruskin1989,
author = {Taruskin, Richard},
title = {Review: Resisting the Ninth},
journal = {19th-Century Music},
publisher = {University of California Press},
year = {1989},
volume = {12},
number = {3},
pages = {241--256},
url = {http://www.jstor.org/stable/746505}
}
|
|||||
| Treitler, L. | Beethoven's 'Expressive' Markings. | 1999 | Beethoven Forum (University of Nebraska Press) | article | URL |
| Abstract: Analyzes the usage of Ludwig van Beethoven's musical terms largo and mesto. Translation of the terms in English; Composers that have long written the word mesto at the beginning of their scores; Relation between annotation and music; Difference between the histories of musical studies and the study of visual arts. | |||||
BibTeX:
@article{treitler1999,
author = {Treitler, Leo},
title = {Beethoven's 'Expressive' Markings.},
journal = {Beethoven Forum (University of Nebraska Press)},
year = {1999},
volume = {7},
number = {1},
pages = {p89 - },
url = {http://library.louisiana.edu/cgi-bin/proxy?http://biere.louisiana.edu:2075/login.aspx?direct=true&db=a9h&AN=6446632&site=ehost-live}
}
|
|||||
| Treitler, L. | "To Worship That Celestial Sound" Motives for Analysis [BibTeX] |
1982 | The Journal of Musicology | article | URL |
BibTeX:
@article{treitler1982,
author = {Treitler, Leo},
title = {"To Worship That Celestial Sound" Motives for Analysis},
journal = {The Journal of Musicology},
publisher = {University of California Press},
year = {1982},
volume = {1},
number = {2},
pages = {153--170},
url = {http://www.jstor.org/stable/763594}
}
|
|||||
| Treitler, L. | History, Criticism, and Beethoven's Ninth Symphony [BibTeX] |
1980 | 19th-Century Music | article | URL |
BibTeX:
@article{treitler1980,
author = {Treitler, Leo},
title = {History, Criticism, and Beethoven's Ninth Symphony},
journal = {19th-Century Music},
publisher = {University of California Press},
year = {1980},
volume = {3},
number = {3},
pages = {193--210},
url = {http://www.jstor.org/stable/746485}
}
|
|||||
| Tusa, M. C. | Noch einmal: Form and Content in the Finale of Beethoven's Ninth Symphony. | 1999 | Beethoven Forum (University of Nebraska Press) | article | URL |
| Abstract: Presents an interpretation of the form and content in the choral finale of Ludwig van Beethoven's Ninth Symphony. Formal strategies and compositional procedures of the choral finale; Analysis of the four-movements of the choral finale; Segmentations of the finale. | |||||
BibTeX:
@article{tusa1999,
author = {Tusa, Michael C.},
title = {Noch einmal: Form and Content in the Finale of Beethoven's Ninth Symphony.},
journal = {Beethoven Forum (University of Nebraska Press)},
year = {1999},
volume = {7},
number = {1},
pages = {p113 - },
url = {http://library.louisiana.edu/cgi-bin/proxy?http://biere.louisiana.edu:2075/login.aspx?direct=true&db=a9h&AN=6446637&site=ehost-live}
}
|
|||||
| Tyson, A. | Notes on Five of Beethoven's Copyists [BibTeX] |
1970 | Journal of the American Musicological Society | article | URL |
BibTeX:
@article{tyson1970,
author = {Tyson, Alan},
title = {Notes on Five of Beethoven's Copyists},
journal = {Journal of the American Musicological Society},
publisher = {University of California Press on behalf of the American Musicological Society},
year = {1970},
volume = {23},
number = {3},
pages = {439--471},
url = {http://www.jstor.org/stable/830615}
}
|
|||||
| Tyson, A. | The First Edition of Beethoven's Op. 119 Bagatelles [BibTeX] |
1963 | The Musical Quarterly | article | URL |
BibTeX:
@article{tyson1963,
author = {Tyson, Alan},
title = {The First Edition of Beethoven's Op. 119 Bagatelles},
journal = {The Musical Quarterly},
publisher = {Oxford University Press},
year = {1963},
volume = {49},
number = {3},
pages = {331--338},
url = {http://www.jstor.org/stable/740562}
}
|
|||||
| Webster, J. | The Concept of Beethoven's 'Early' Period in the Context of Periodizations in General. | 1994 | Beethoven Forum (University of Nebraska Press) | article | URL |
| Abstract: Examines the relations between an artist's life and works. Periodizations of Ludwig van Beethoven's career and his early Viennese music; Description of Beethoven's middle-period music; Outline of the different music-historical interpretation of the 1790s. | |||||
BibTeX:
@article{websterEarlyPeriod1994,
author = {Webster, James},
title = {The Concept of Beethoven's 'Early' Period in the Context of Periodizations in General.},
journal = {Beethoven Forum (University of Nebraska Press)},
year = {1994},
volume = {3},
number = {1},
pages = {p1 - },
url = {http://library.louisiana.edu/cgi-bin/proxy?http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=6448524&site=ehost-live}
}
|
|||||
| Will, R. | Time, Morality, and Humanity in Beethoven's "Pastoral" Symphony | 1997 | Journal of the American Musicological Society | article | URL |
| Abstract: While Beethoven's Pastoral Symphony exhibits the underlying four-movement framework and other familiar hallmarks of eighteenth- and early nineteenth-century symphonies, in other respects it more closely resembles programmatic symphonies of the same period, particularly in the continuity between its concluding movements and the unusual structure of its storm. Its mixture of symphonic and programmatic practices serves to dramatize the effects of time on pastoral idylls and the role of morality therein. The work can be interpreted as a confrontation with these fundamentally human issues rather than-as many twentieth-century commentators have assumed-the representation of a mythical or prelapsarian paradise. | |||||
BibTeX:
@article{will1997,
author = {Will, Richard},
title = {Time, Morality, and Humanity in Beethoven's "Pastoral" Symphony},
journal = {Journal of the American Musicological Society},
publisher = {University of California Press on behalf of the American Musicological Society},
year = {1997},
volume = {50},
number = {2/3},
pages = {271--329},
url = {http://www.jstor.org/stable/831836}
}
|
|||||
| Yudkin, J. | Beethoven's "Mozart" Quartet | 1992 | Journal of the American Musicological Society | article | URL |
| Abstract: The literary critic Harold Bloom coined the term "anxiety of influence" to cover stages in the emancipation of poets from their powerful forebears. Much has been written on the shadow cast by Beethoven over later nineteenth-century composers, but Beethoven too had to come to terms with powerful influences. It has long been recognized that the slow movement of Beethoven's String Quartet, op. 18, no. 5, is modeled on that of Mozart's String Quartet in A major, K. 464. Here it is shown that in fact, the imitation involves not only the slow movement but all four of the movements. This provides an opportunity to examine in detail Beethoven's technique of reinterpreting his model. Indeed an examination of Beethoven's "anxiety" at different stages of his career may lead us to a closer understanding of his creative development. Toward the end of his life Beethoven imitated one of the movements from K. 464 again. Here may be seen the final stage in the confrontation of his anxiety. | |||||
BibTeX:
@article{yudkin1992,
author = {Yudkin, Jeremy},
title = {Beethoven's "Mozart" Quartet},
journal = {Journal of the American Musicological Society},
publisher = {University of California Press on behalf of the American Musicological Society},
year = {1992},
volume = {45},
number = {1},
pages = {30--74},
url = {http://www.jstor.org/stable/831489}
}
|
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Created by JabRef on 12/02/2009.