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Author: Homa Morshed Nasseri
Publisher:
ISBN:
Category :
Languages : en
Pages : 76
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Author: Homa Morshed Nasseri
Publisher:
ISBN:
Category :
Languages : en
Pages : 76
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Author: Helen Jean Smoot
Publisher:
ISBN:
Category :
Languages : en
Pages : 60
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Author: Gary L. Pedersen
Publisher:
ISBN:
Category :
Languages : en
Pages : 104
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Author: Heinrich Schenker
Publisher: Oxford University Press
ISBN: 0199914214
Category : Music
Languages : en
Pages : 105
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Heinrich Schenker ranks among the most important figures in the development of western music theory in the twentieth century. His approach to the analysis of music permeates nearly every aspect of the field and continues to this day to be a topic of great interest among music theorists, historians, composers and performers. In his four volume work, Die letzen Sonaten von Beethoven: Kritische Ausgabe mit Einführung und Erläuterung (The Last Piano Sonatas by Beethoven: Critical edition with Introduction and Commentary) Schenker presented editions of Beethoven's Opp. 109, 110, 111 and 101 that were, at the time, unprecedented in their faithfulness to such authoritative sources as Beethoven's autograph manuscripts. He included a movement-by-movement and section-by-section discussion of form and content that grew increasingly penetrating from one volume to the next as the musical theory for which he is now known was developed, alongside inspired and detailed suggestions for the performance of each section of each work. In Beethoven's Last Piano Sonatas: An Edition, with Elucidation, noted Schenker scholar John Rothgeb presents the first English language edition and translation of these important works. Rothgeb builds upon Schenker's text, adding explanations of certain points in the commentary, references to corrections and other remarks entered by Schenker in his personal copies of the volumes, and graphic presentations of several passages (a practice that became standard in Schenker's own analytical work later in his career). Making these seminal works accessible to English speaking scholars and students for the first time, Beethoven's Last Piano Sonatas is an essential reference for music theorists, historians, performers, and composers alike.
Author: Seung-Hye Lee
Publisher:
ISBN:
Category : Sonatas (Piano)
Languages : en
Pages : 104
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Materials submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts.
Author: Heinrich Schenker
Publisher: Oxford University Press, USA
ISBN: 0199914206
Category : Music
Languages : en
Pages : 105
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Book Description
Heinrich Schenker ranks among the most important figures in the development of western music theory in the twentieth century. His approach to the analysis of music permeates nearly every aspect of the field and continues to this day to be a topic of great interest among music theorists, historians, composers and performers. In his four volume work, Die letzen Sonaten von Beethoven: Kritische Ausgabe mit Einführung und Erläuterung (The Last Piano Sonatas by Beethoven: Critical edition with Introduction and Commentary) Schenker presented editions of Beethoven's Opp. 109, 110, 111 and 101 that were, at the time, unprecedented in their faithfulness to such authoritative sources as Beethoven's autograph manuscripts. He included a movement-by-movement and section-by-section discussion of form and content that grew increasingly penetrating from one volume to the next as the musical theory for which he is now known was developed, alongside inspired and detailed suggestions for the performance of each section of each work. In Beethoven's Last Piano Sonatas: An Edition, with Elucidation, noted Schenker scholar John Rothgeb presents the first English language edition and translation of these important works. Rothgeb builds upon Schenker's text, adding explanations of certain points in the commentary, references to corrections and other remarks entered by Schenker in his personal copies of the volumes, and graphic presentations of several passages (a practice that became standard in Schenker's own analytical work later in his career). Making these seminal works accessible to English speaking scholars and students for the first time, Beethoven's Last Piano Sonatas is an essential reference for music theorists, historians, performers, and composers alike.
Author: KyeJung Rachel Park
Publisher:
ISBN:
Category : Piano music
Languages : en
Pages : 318
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Author: Eliana Maria Murphy
Publisher:
ISBN:
Category :
Languages : en
Pages : 138
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The correlations between J.S. Bach's Aria mit verschiedenen Veranderungen, BWV 988 ("Goldberg Variations") (1741) and the variation movement of Ludwig van Beethoven's Piano Sonata in E Major, Op. 109 (1820) may not be apparent at a cursory glance, yet upon closer examination, some striking parallels emerge. This document compares relevant excerpts of J.S. Bach's "Goldberg Variations" and Beethoven's Op. 109 variation movement, offering evidence that Beethoven indeed did use the "Goldberg Variations" as the inspiration for his musical invention in Op. 109's last movement. While there is no proof that Beethoven ever heard a performance or read through a score of the "Goldberg Variations," much circumstantial evidence points to the conclusion that he had several opportunities to do so. In the first chapter, I explore how Beethoven's exposure to Bach's music influenced his development as a composer, especially in his last compositional period. Special emphasis is given to the role that Gottfried, Baron van Swieten played in introducing Beethoven to many of Bach's scores. The second chapter describes many possible connections between the two works, including the following: 1. Many editions of the "Goldberg Variations" had been published by the time Beethoven was composing Op. 109, meaning that Bach's work was more accessible than many of the composer's other works; 2. Beethoven could have encountered the score in the libraries of Swieten or the composer's patron Archduke Rudolph; 3. Johann Philipp Kirnberger's theory text Die Kunst des reinen Satzes in der Musik (1773/77), a book Beethoven owned, includes two brief excerpts of the "Goldberg Variations" 4. Carl Czerny, a member of Beethoven's inner circle, claimed that he had been familiar with the "Goldberg Variations" during the time that Beethoven composed Op. 109; and 5. Scholars have noted the similarities between the "Goldberg Variations" and other works by Beethoven, especially Op. 120, the "Diabelli Variations." In the third chapter I summarize the compositional history and form of the "Goldberg Variations" and Op. 109. The majority of score analysis occurs in the fourth chapter, where I present related excerpts of Op. 109 and the "Goldberg Variations" including not only those discussed by previous scholars but also ones left previously unnoticed or summarily acknowledged by other authors. Finally, in the fifth chapter, I explore unexamined connections between the "Goldberg Variations" and Beethoven's sketches for the Op. 109 variation movement by juxtaposing excerpts of both and providing analytic comparisons, thus shining new light on the correlations between these two works.
Author: Victor Rosenbaum
Publisher:
ISBN:
Category : Sonatas (Piano)
Languages : en
Pages : 100
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Author: William Rhea Meredith
Publisher:
ISBN:
Category :
Languages : en
Pages : 1114
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