Author: Laura BoydPublisher:
ISBN:
Category :
Languages : en
Pages : 108
Book Description
A Commentary and Analysis of Beethoven's "Kreutzer" Sonata
Author: Laura BoydA Discussion of Unaccompanied Violin and Viola Works Exemplified by Bach, Reger, and Ysaÿe
Author: Laura BoydBeethoven, the Sonatas for Piano and Violin
Author: Max RostalPublisher:
ISBN:
Category : Music
Languages : en
Pages : 232
Book Description
The first in over half a century to be devoted to a detailed analysis of the complete Beethoven sonatas for violin and piano, this book arose from the author's desire to pass on to a younger generation more than sixty years' experience as a practising musician and teacher. Professor Rostal addresses himself to professional and amateur musicians alike, to students and to listeners, all of whom will derive pleasure and enlightenment from his words. Each of the ten Sonatas is carefully discussed, the manuscripts and first and later editions meticulously compared. Musicians will find technical and interpretative problems approached and solved and the music-lover a helpful listener's guide to these ever-popular masterpieces. As the Amadeus Quartet's Preface says of this important book, It is a "must" for all students and performers, and is a "must" for all lovers of Beethoven.' A renowned violinist and teacher, Professor MAX ROSTAL studied music under Arnold Ros and Carl Flesch. Founder and President of the European String Teachers' Association, he has made many recordings and is the editor of numerous wirks in the violin repertoire.
Beethoven's Sphere of the Pathétique
Author: Margarita LoukachkinaPublisher:
ISBN:
Category : Music and rhetoric
Languages : en
Pages : 0
Book Description
Harmony in Beethoven
Author: David DamschroderPublisher: Cambridge University Press
ISBN: 1316477924
Category : Music
Languages : en
Pages :
Book Description
David Damschroder's ongoing reformulation of harmonic theory continues with a dynamic exploration of how Beethoven molded and arranged chords to convey bold conceptions. This book's introductory chapters are organized in the manner of a nineteenth-century Harmonielehre, with individual considerations of the tonal system's key features illustrated by easy-to-comprehend block-chord examples derived from Beethoven's piano sonatas. In the masterworks section that follows, Damschroder presents detailed analyses of movements from the symphonies, piano and violin sonatas, and string quartets, and compares his outcomes with those of other analysts, including William E. Caplin, Robert Gauldin, Nicholas Marston, William J. Mitchell, Frank Samarotto, and Janet Schmalfeldt. Expanding upon analytical practices from the eighteenth and nineteenth centuries and strongly influenced by Schenkerian principles, this fresh perspective offers a stark contrast to conventional harmonic analysis – both in terms of how Roman numerals are deployed and how musical processes are described in words.
An Analysis of Beethoven's Ten Sonatas for Violin and Piano
Author: Jennie Mae ChanAnalysis of Form in Beethoven's Sonatas
Author: Henry Alfred HardingPublisher:
ISBN:
Category : Sonatas
Languages : en
Pages : 76
Book Description
Genre, Style and Compositional Procedure in Beethoven's "Kreutzer" Sonata, Opus 47
Author: Suhnne AhnPublisher:
ISBN:
Category : Sonatas (Violin and piano)
Languages : en
Pages : 275
Book Description
Thematic Patterns in Sonatas of Beethoven
Author: Rudolph RetiPublisher:
ISBN:
Category : Sonatas (Piano)
Languages : en
Pages : 216
Book Description
In the Process of Becoming
Author: Janet SchmalfeldtPublisher: Oxford University Press
ISBN: 0190656123
Category : Music
Languages : en
Pages : 350
Book Description
With their insistence that form is a dialectical process in the music of Beethoven, Theodor Adorno and Carl Dahlhaus emerge as the guardians of a long-standing critical tradition in which Hegelian concepts have been brought to bear on the question of musical form. Janet Schmalfeldt's ground-breaking account of the development of this Beethoven-Hegelian tradition restores to the term "form" some of its philosophical associations in the early nineteenth century, when profound cultural changes were yielding new relationships between composers and their listeners, and when music itself-in particular, instrumental music-became a topic for renewed philosophical investigation. Precedents for Adorno's and Dahlhaus's concept of form as process arise in the Athenäum Fragments of Friedrich Schlegel and in the Encyclopaedia Logic of Hegel. The metaphor common to all these sources is the notion of becoming; it is the idea of form coming into being that this study explores in respect to music by Beethoven, Schubert, Mendelssohn, Chopin, and Schumann. A critical assessment of Dahlhaus's preoccupation with the opening of Beethoven's "Tempest" Sonata serves as the author's starting point for the translation of philosophical ideas into music-analytical terms-ones that encourage listening "both forward and backward," as Adorno has recommended. Thanks to the ever-growing familiarity of late eighteenth-century audiences with formal conventions, composers could increasingly trust that performers and listeners would be responsive to striking formal transformations. The author's analytic method strives to capture the dynamic, quasi-narrative nature of such transformations, rather than only their end results. This experiential approach to the perception of form invites listeners and especially performers to participate in the interpretation of processes by which, for example, a brooding introduction-like opening must inevitably become the essential main theme in Schubert's Sonata, Op. 42, or in which tremendous formal expansions in movements by Mendelssohn offer a dazzling opportunity for multiple retrospective reinterpretations. Above all, In the Process of Becoming proposes new ways of hearing beloved works of the romantic generation as representative of their striving for novel, intensely self-reflective modes of communication.