Tempo Markings in Beethoven's Symphony No. 9 in D Minor Op. 125 PDF Download

Author: David John De Seguirant
Publisher:
ISBN:
Category : Performance practice (Music)
Languages : en
Pages : 233

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Author: George Grove
Publisher: BoD – Books on Demand
ISBN: 3385474299
Category : Fiction
Languages : en
Pages : 62

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Reprint of the original, first published in 1882.

Author: Wayne M. Senner
Publisher: U of Nebraska Press
ISBN: 9780803212503
Category : Music
Languages : en
Pages : 296

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Book Description
Compiled here are reviews, reports, notes, and essays found in German-language periodicals published between 1783 and 1830. The documents are translated into English with copious notes and annotations, an introductory essay, and indexes of names, subjects, and works. This volume contains a general section and documents on specific opus numbers up to opus 54, with musical examples redrawn from the original publications. ø The collection brings to light contemporary perceptions of Beethoven?s music, including matters such as audience, setting, facilities, orchestra, instruments, and performers as well as the relationship of Beethoven?s music to theoretical and critical ideas of the eighteenth and nineteenth centuries. These documents, most of which appear in English for the first time, present a wide spectrum of insights into the perceptions that Beethoven?s contemporaries had of his monumental music.

Author: Richard Taruskin
Publisher: Oxford University Press
ISBN: 0195357434
Category : Music
Languages : en
Pages : 391

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Over the last dozen years, the writings of Richard Taruskin have transformed the debate about "early music" and "authenticity." Text and Act collects for the first time the most important of Taruskin's essays and reviews from this period, many of which now classics in the field. Taking a wide-ranging cultural view of the phenomenon, he shows that the movement, far from reviving ancient traditions, in fact represents the only truly modern style of performance being offered today. He goes on to contend that the movement is therefore far more valuable and even authentic than the historical verisimilitude for which it ostensibly strives could ever be. These essays cast fresh light on many aspects of contemporary music-making and music-thinking, mixing lighthearted debunking with impassioned argumentation. Taruskin ranges from theoretical speculation to practical criticism, and covers a repertory spanning from Bach to Stravinsky. Including a newly written introduction, Text and Act collects the very best of one of our most incisive musical thinkers.

Author:
Publisher: Alfred Music Publishing
ISBN: 9780757994111
Category : Music
Languages : en
Pages : 108

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Author: Andrew Dell'Antonio
Publisher: Univ of California Press
ISBN: 9780520237605
Category : Music
Languages : en
Pages : 350

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Rose Subotnik criticized 'structural listening' as an attempt to situate musical meaning solely within the unfolding of the musical structure itself. The authors of this volume take up her challenge, writing on repertoires ranging from Beethoven to MTV.

Author: Mark Ferraguto
Publisher: Oxford University Press
ISBN: 0190947195
Category : Music
Languages : en
Pages : 256

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Between early 1806 and early 1807, Ludwig van Beethoven completed a remarkable series of instrumental works. But critics have struggled to reconcile the music of this banner year with Beethoven's "heroic style," the paradigm through which his middle-period works have typically been understood. Drawing on theories of mediation and a wealth of primary sources, Beethoven 1806 explores the specific contexts in which the music of this year was conceived, composed, and heard. As author Mark Ferraguto argues, understanding this music depends on appreciating the relationships that it both creates and reflects. Not only did Beethoven depend on patrons, performers, publishers, critics, and audiences to earn a living, but he also tailored his compositions to suit particular sensibilities, proclivities, and technologies.

Author: Anton Schindler
Publisher:
ISBN:
Category : Composers
Languages : en
Pages : 338

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Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 49

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Beethoven's metronome markings aroused much controversy among musicologists and performing musicians. For Beethoven, tempo is a fundamental element of the music's character. Beethoven included metronome markings in his music to communicate his ideas concerning tempi in a more specific manner. Ironically, his metronome markings are often ignored by many performers and conductors, as evidenced in the recordings and live performance reviews. There is a group of scholars and performers who tend to disregard Beethoven's metronome markings, while another group believes they are sensible and workable. This paper discusses the metronome markings and the Affective Key Characteristics in the music of Beethoven, focusing specifically on his Fifth Symphony, Op.67. Listeners and performers often have their impression of how a specific key feels, but such impressions are personal and may vary. The choice of the key by any given composer could be a vital hint of how the composer wanted the music to be interpreted in terms of character. The first chapter focuses on the discussion of issues pertaining to Beethoven's metronome markings, including commentary from Beethoven himself, as well as other musicians and music scholars. Chapter 2 discusses issues pertaining to Affective Key Characteristics, explaining the association of meaning and emotions in different Affective Keys, followed by a brief introduction of the concept of Affektenlehre, and unequal temperament tuning. Chapters 3 and 4 contain detailed discussion on the interpretation of Beethoven's Fifth Symphony, with specific musical examples and frequent reference to the musical context and the Affective Key Characteristics descriptions. In conclusion, this document demonstrates how the unique expressive properties of keys could be a significant asset for exploring various characters that are embedded within the music. By considering this, we could open up a number of interpretative possibilities that are not necessarily tied to metronome markings.

Author: Clive Brown
Publisher: Oxford University Press
ISBN: 0195347242
Category : Music
Languages : en
Pages : 677

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The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed.