DOCSLIB.ORG

Beethoven's Transcendence of the Additive Tendency In

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

3 79 aidU A'0,3/Og BEETHOVEN'S TRANSCENDENCE OF THE ADDITIVE TENDENCY IN OPUS 34, OPUS 35, WERK OHNE OPUSZAHL 80, AND OPUS 120 DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Ernest J. Kramer, B.M., M.M. Denton, Texas December, 1989 OC.X Kramer, Ernest J., Beethoven's Transcendence of the Additive Tendency in Opus 34, Opus 35, Werk ohne Opuszahl 80, and Opus 120. Doctor of Philosophy (Music Theory), December 1989, 442 pp., 12 tables, 322 examples, bibliography, 82 titles. The internal unity of the themes in a sonata-allegro movement and the external unity of the movements in a sonata cycle are crucial elements of Beethoven's compositional aesthetic. Numerous theorists have explored these aspects in Beethoven's sonatas, symphonies, quartets, and concertos. Similar research into the independent variation sets for piano, excluding Opus 120, has been largely neglected as the result of three misconceptions: that the variation sets, many of which were based on popular melodies of Beethoven's time, are not as worthy of study as his other works; that the type of hidden internal relationships which pervade the sonata cycle are not relevant to the variation set since all variations are, by definition, related to the theme; and that variations were composed "additively," that is, one after another, without any particular regard for their order or relationship to one another. The purpose of this study is to refute all three of these incorrect assumptions. Beethoven was concerned with the order of variations and their relationship to one another, and he was able to transcend the additive tendency in a number of ways. Some of his methods included registral connection, registral expansion, rhythmic acceleration, textural expansion, dynamics, articulation, and motivic similarities. Chapter I contains a discussion of the role of the variation set in Beethoven's overall output. The teachers, composers, and works which may have influenced him are also discussed as well as his training in variation composition. Finally, those factors which Beethoven employed to unify his sets are listed and explained. Chapters II-V are devoted to detailed analyses of four striking variation sets: Opus 34, Opus 35, WoO 80, and Opus 120. Chapter VI presents a summary of the findings. It suggests that each of the sets investigated has a unique form and that each variation has a distinct place and purpose. Copyright by Ernest J. Kramer 1989 TABLE OF CONTENTS LIST OF TABLES v LIST OF ILLUSTRATIONS vi Chapter I. BEETHOVEN AND THE VARIATION SET 1 II. SIX VARIATIONS IN F MAJOR, OPUS 34 56 III. FIFTEEN VARIATIONS IN Eb MAJOR, OPUS 35 116 IV. THIRTY-TWO VARIATIONS IN C MINOR, WERK OHNE OPUSZAHL 80 197 V. THIRTY-THREE VARIATIONS IN C MAJOR, OPUS 120 298 VI. CONCLUSIONS 425 BIBLIOGRAPHY 437 IV LIST OF TABLES Table Page 1-1. Beethoven's independent variation sets for piano . 5 2-1. Opus 34, links and cross-references 112 3-1. Opus 35, the overall form and grouping 192 3-2. Opus 35, links and cross-references ....... 193 4-1. WoO 80, links and cross-references 292 5-1. Opus 120, sectional divisions suggested by previous analyses 301 5-2. Opus 120, sectional divisions suggested by the analysis presented in Chapter V 417 5-3. Opus 120, links and cross-references ....... 419 6-1. Opus 34, different structural levels 428 6-2. Opus 35, the various subgroups found in the first group (Introduction through Variation VII) 429 6-3. WoO 80, the overall structure 430 6-4. Opus 120, the overall structure 431 LIST OF ILLUSTRATIONS Example Page 1-1. Heinichen, a passage and its underlying structure 16 1-2. Opus 120, measure 1 of Variation XI and XII displaying the melodic turn motive 16 1-3. Opus 120, measure 1 of Variation IV and V displaying the rhythmic short-short-long motive 17 1-4. WoO 80, Variations I-III, measure 1 18 1-5. Opus 35, measure 1 of the Basso del Thema (1 voice), A_ due (2 voices), A_ tre (3 voices), A. quattro (4 voices), and the Thema (7 voices) 19 1-6. Opus 57, second movement, measure 1, 17, 33, 49, 71, displaying an upward registral expansion 20 1-7. Opus 35, measure 1 of the Basso del Thema, the Thema, Variation I, and Variation II displaying rhythmic acceleration 21 1-8. WoO 80. Measure 1 of Variations I and II displaying common articulation and touch . 22 1-9. Wolfgang Amadeus Mozart, Sonata in F, K. 332, movement I, measures 5-8 displaying two rhythmic strata 24 1-10. WoO 80, the link formed by the secondary rhythmic stratum in measure 6 of Variation V and the primary rhythmic stratum in measure 1 of Variation VI .... 24 1-11. WoO 80, measure 1 of Variations X and XI displaying an exchange of parts 25 1-12. WoO 80, measure 1 of Variations XV and XVI displaying the retention of one voice while another is varied 26 vi 1-13. WoO 80, measure 1 of Variations VII and VIII displaying the retention of one voice while another is replaced 26 1-14. WoO 80, measures 5-8 of the theme and 1-2 of Variation I displaying the registral connection of a to g 28 1-15. Opus 34, measure 6 of the theme and measure 2 of Variation I displaying invariance .... 29 1-16. Opus 35, measure 24 of Variation VI and measure 1 of Variation VII 30 1-17. Mozart, Ah, vous dirai-je, Maman, theme, measure 23; Variations I and II, measure 1 . 41 1-18. Mozart, Ah, vous dirai-je, Maman, measures 1-8 of Variations VIII and IX 43 1-19. Haydn, Arietta con Variationi in A major: (a) measure 16 of Variation VII and measure 1 of Variation VIII; (b) measures 15-16 of Variation VIII and measure 1 of Variation IX 47 1-20. Haydn, Arietta con Variationi in A major, a comparison of measures 11-16 of Variation XII and measures 1-3 of Variation XIII 48 1-21. Haydn, Arietta con Variationi in A major, measure 1-2 of Variations III and IV 49 2-1. A Schenkerian interpretation of key relationships in Opus 34 58 2-2. Opus 34, theme, measures 1 and 9 63 2-3. Opus 34, theme, measure 1; Variation I, measures 5-6; Variation VI, measures 57-59 . 64 2-4. Opus 34, Variation I, measures 3-6 65 2-5. Opus 34, the enharmonically-equivalent diminished seventh chords between variation pairs .... 66 2-6. Opus 34, theme, a metric reduction 67 2-7. Opus 34, the rhythmic motive in Variations II, IV, V, and VI 68 VII 2-8. Opus 34, theme, measure 4; Variation I, measures 7 and 12; Variation IV, measures 4 and 21-23; Variation VI, measures 3-4 ... 69 2-9. Opus 34, Variation VI, measure 13 70 2-10. Opus 34, the connection between measures 21-22 of the Thema and measure 1 of Variation I 71 2—11. Opus 34, Variation I, a metric reduction 73 2-12. Opus 34, Variation I, measures 1-2 and 15-16 ... 75 2-13. Opus 34, Variation I, measures 1-4 75 2-14. Opus 34, Variation I, the turn in measures 1-2 and 3 76 2-15. Opus 34, Variation I, measures 19-20 77 2-16. Opus 34, Variation I, measure 17 77 2-17. Opus 34, Variation I, measure 21 78 2-18. Opus 34, the connection of Variations I-IV by using d as a common-tone and as a leading-tone 79 2-19. Opus 34, measure 8 of Variation II and measure 7 of Variation III 79 2-20. Opus 34, Variation II, measures 1-2, 5-6, 15-16, and 19-20 80 2-21. Opus 34, Variation II, measures 9-14 82 2-22. Opus 34, Variation II, measures 6 and 20-21 ... 82 2-23. Opus 34, Variation III, measures 8-10 83 2-24. Opus 34, Variation III, measures 12-13 .84 2-25. Opus 34, Variation III, measure 4 84 2-26. Opus 34, the e^ link between Variations III and IV 85 2-27. Opus 34, the central position of Variation IV . 86 2-28. Opus 34, Variation IV, measures 1-4 .......87 viii 2-29. Opus 34, measures 1-2 of the Thema and Variation IV 88 2-30. Opus 34, Variation IV, measures 1-4 88 2-31. Opus 34, Variation IV, measures 19-22 89 2-32. Opus 34, Variation IV, measures 9-13 90 2-33. Opus 34, Variation IV, measures 15-22 91 2-34. Opus 34, Variation IV, a metric reduction .... 92 2-35. Opus 34, Variation V, measures 4 and 6 95 2-36. Opus 34, Variation V, measures 2 and 9 . .95 2-37. Opus 34, Variation V, measures 12-14 96 2-38. Opus 34, Variation V, measures 19-22 . 96 2-39. Opus 34, Variation V, measure 23-28 97 2-40. Opus 34, Variation V, a metric reduction 98 2-41. Opus 34, measures 1-2 of Variations V and VI . 100 2-42. Opus 34, a comparison of measure 2 of Variations II and VI 101 2-43. Opus 34, Variation VI, measures 12-13 102 2-44. Opus 34, Variation VI, measures 14-15 102 2-45. Opus 34, Variation VI, measures 17-18 102 2-46. Opus 34, Variation VI, a metric reduction .... 104 2-47.
Recommended publications
  • An Approach to the Pedagogy of Beginning Music Composition: Teaching Understanding and Realization of the First Steps in Composing Music

    An Approach to the Pedagogy of Beginning Music Composition: Teaching Understanding and Realization of the First Steps in Composing Music

    AN APPROACH TO THE PEDAGOGY OF BEGINNING MUSIC COMPOSITION: TEACHING UNDERSTANDING AND REALIZATION OF THE FIRST STEPS IN COMPOSING MUSIC DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Vera D. Stanojevic, Graduate Diploma, Tchaikovsky Conservatory ***** The Ohio State University 2004 Dissertation Committee: Approved By Professor Donald Harris, Adviser __________________________ Professor Patricia Flowers Adviser Professor Edward Adelson School of Music Copyright by Vera D. Stanojevic 2004 ABSTRACT Conducting a first course in music composition in a classroom setting is one of the most difficult tasks a composer/teacher faces. Such a course is much more effective when the basic elements of compositional technique are shown, as much as possible, to be universally applicable, regardless of style. When students begin to see these topics in a broader perspective and understand the roots, dynamic behaviors, and the general nature of the different elements and functions in music, they begin to treat them as open models for individual interpretation, and become much more free in dealing with them expressively. This document is not designed as a textbook, but rather as a resource for the teacher of a beginning college undergraduate course in composition. The Introduction offers some perspectives on teaching composition in the contemporary musical setting influenced by fast access to information, popular culture, and globalization. In terms of breadth, the text reflects the author’s general methodology in leading students from basic exercises in which they learn to think compositionally, to the writing of a first composition for solo instrument.
  • Statistical Techniques in Music Psychology: an Update

    Statistical Techniques in Music Psychology: an Update

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Goldsmiths Research Online Statistical techniques in music psychology: An update Daniel M¨ullensiefen 1 Introduction Music psychology as a discipline has its origins at the end of the 19th century and ever since then, empirical methods have been a core part in this field of research. While its experimental and analytical methods have mainly been related to methodology employed in general psychology, several statistical techniques have emerged over the course of the past century being specific for empirical research in music psychology. These core methods have been described in a few didactic and summarising publications at several stages of the discipline’s history (see e.g. Wundt, 1882; B¨ottcher & Kerner, 1978; Windsor, 2001, or Beran, 2004 for a very technical overview), and these publications have been valuable resources to students and researchers alike. In contrast to these texts with a rather didactical focus, the objective of this chapter is to provide an overview of a range of novel statistical techniques that have been employed in recent years in music psychology research.1 This overview will give enough insight into each technique as such. The interested reader will then have to turn to the original publications, to obtain a more in-depth knowledge of the details related to maths and the field of application. Empirical research into auditory perception and the psychology of music might have its beginnings in the opening of the psychological laboratory by Wilhelm Wundt in Leipzig in 1879 where experiments on human perception were conducted, and standards for empirical research and analysis were developed.
  • Schenkerian Analysis in the Modern Context of the Musical Analysis

    Schenkerian Analysis in the Modern Context of the Musical Analysis

    Mathematics and Computers in Biology, Business and Acoustics THE SCHENKERIAN ANALYSIS IN THE MODERN CONTEXT OF THE MUSICAL ANALYSIS ANCA PREDA, PETRUTA-MARIA COROIU Faculty of Music Transilvania University of Brasov 9 Eroilor Blvd ROMANIA [email protected], [email protected] Abstract: - Music analysis represents the most useful way of exploration and innovation of musical interpretations. Performers who use music analysis efficiently will find it a valuable method for finding the kind of musical richness they desire in their interpretations. The use of Schenkerian analysis in performance offers a rational basis and an unique way of interpreting music in performance. Key-Words: - Schenkerian analysis, structural hearing, prolongation, progression,modernity. 1 Introduction Even in a simple piece of piano music, the ear Musical analysis is a musicological approach in hears a vast number of notes, many of them played order to determine the structural components of a simultaneously. The situation is similar to that found musical text, the technical development of the in language. Although music is quite different to discourse, the morphological descriptions and the spoken language, most listeners will still group the understanding of the meaning of the work. Analysis different sounds they hear into motifs, phrases and has complete autonomy in the context of the even longer sections. musicological disciplines as the music philosophy, Schenker was not afraid to criticize what he saw the musical aesthetics, the compositional technique, as a general lack of theoretical and practical the music history and the musical criticism. understanding amongst musicians. As a dedicated performer, composer, teacher and editor of music himself, he believed that the professional practice of 2 Problem Formulation all these activities suffered from serious misunderstandings of how tonal music works.
  • Beethoven, Bonn and Its Citizens

    Beethoven, Bonn and Its Citizens

    Beethoven, Bonn and its citizens by Manfred van Rey The beginnings in Bonn If 'musically minded circles' had not formed a citizens' initiative early on to honour the city's most famous son, Bonn would not be proudly and joyfully preparing to celebrate his 250th birthday today. It was in Bonn's Church of St Remigius that Ludwig van Beethoven was baptized on 17 December 1770; it was here that he spent his childhood and youth, received his musical training and published his very first composition at the age of 12. Then the new Archbishop of Cologne, Elector Max Franz from the house of Habsburg, made him a salaried organist in his renowned court chapel in 1784, before dispatching him to Vienna for further studies in 1792. Two years later Bonn, the residential capital of the electoral domain of Cologne, was occupied by French troops. The musical life of its court came to an end, and its court chapel was disbanded. If the Bonn music publisher Nikolaus Simrock (formerly Beethoven’s colleague in the court chapel) had not issued several original editions and a great many reprints of Beethoven's works, and if Beethoven's friend Ferdinand Ries and his father Franz Anton had not performed concerts of his music in Bonn and Cologne, little would have been heard about Beethoven in Bonn even during his lifetime. The first person to familiarise Bonn audiences with Beethoven's music at a high artistic level was Heinrich Karl Breidenstein, the academic music director of Bonn's newly founded Friedrich Wilhelm University. To celebrate the anniversary of his baptism on 17 December 1826, he offered the Bonn première of the Fourth Symphony in his first concert, devoted entirely to Beethoven.
  • Point Counter Point"

    Point Counter Point"

    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1940 Aldous Huxley's use of music in "Point Counter Point" Bennett Brudevold The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Brudevold, Bennett, "Aldous Huxley's use of music in "Point Counter Point"" (1940). Graduate Student Theses, Dissertations, & Professional Papers. 1499. https://scholarworks.umt.edu/etd/1499 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A1D005 HUXLEY'S USE OF MUSIC IB F o m r c o i m m by Bennett BruAevold Presented in P&rtlel Fulfillment of the Requirement for the Degree of Master of Arte State University of Montana 1940 Approveds û&^'rman of Ëxaminl]^^ ttee W- Sfiairraan’ of Graduate Ccmmlttee UMI Number; EP35823 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation RMishing UMI EP35823 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author.
  • A Practical Guide to Musical Composition Alan Belkin

    A Practical Guide to Musical Composition Alan Belkin

    1 A Practical Guide to Musical Composition by Alan Belkin [email protected] © Alan Belkin, 2008 2 Presentation The aim of this book is to discuss fundamental principles of musical composition in concise, practical terms, and to provide guidance for student composers. Many of these practical aspects of the craft of composition, especially concerning form, are not often discussed in ways useful to an apprentice composer - ways that help him to solve common problems. Thus, this will not be a "theory" text, nor an analysis treatise, but rather a guide to some of the basic tools of the trade. It is mainly based on my own experience as a composer and teacher. This book is the first in a series. The others are: Counterpoint, Orchestration, and Harmony. A complement to this book is my Workbook for Elementary Tonal Composition. For more artistic matters related to composition, please see my essay on the Musical Idea. This series is dedicated to the memory of my teacher and friend Marvin Duchow, one of the rare true scholars, a musician of immense depth and sensitivity, and a man of unsurpassed kindness and generosity. Note concerning the musical examples: Unless otherwise indicated, the musical examples are my own, and are covered by copyright. To hear the audio examples, you must use the online version of this book. To hear other examples of my music, please visit the worklist page. Scores have been reduced, and occasional detailed performance indications removed, to save space. I have also furnished examples from the standard repertoire (each marked "repertoire example").
  • Ludwig Van BEETHOVEN

    Ludwig Van BEETHOVEN

    BEETHOVEN Piano Pieces and Fragments Sergio Gallo, Piano Ludwig van BEE(1T77H0–1O827V) EN Piano Pieces and Fragments 1 ^ 13 Variations in A major on the Arietta ‘Es war einmal ein alter Mann’ Sketch in A major, Hess 60 (transcribed by A. Schmitz) (1818)* 0:31 & (‘Once Upon a Time there was an Old Man’) from Dittersdorf’s Theme with Variations in A major, Hess 72 (fragment) (1803) 2:42 Das rothe Käppchen (‘Red Riding Hood’), WoO 66 (1792) 13:10 * 2 Liedthema in G major, WoO 200, Hess 75 ‘O Hoffnung’ (1818) 0:22 Pastorella in C major, Bia. 622 (transcribed by F. Rovelli, b. 1979) (1815)* 0:23 ( Presto in G major, Bia. 277 (transcribed by A. Schmitz) (1793) 0:34 Ein Skizzenbuch aus den Jahren 1815 bis 1816 (Scheide-Skizzenbuch). Faksimile, Übertragung und Kommentar ) herausgegeben von Federica Rovelli gestützt auf Vorarbeiten von Dagmar von Busch-Weise, Bd. I: Faksimile, 4 Bagatelles, WoO 213: No. 2 in G major (transcribed by A. Schmitz) (1793) 0:29 ¡ Bd. II: Transkription, Bd. III: Kommentar, Verlag Beethoven-Haus (Beethoven, Skizzen und Entwürfe), Bonn. Piano Étude in B flat major, Hess 58 (c. 1800) 0:41 ™ 12 Piano Miniatures from the Sketchbooks (ed. J. van der Zanden, b. 1954) Piano Étude in C major, Hess 59 (c. 1800) 0:25 £ (Raptus Editions) (excerpts) (date unknown) 4:27 3 String Quintet in C major, WoO 62, Hess 41 No. 3. Klavierstück: Alla marcia in C major [Kafka Miscellany, f. 119v, 2–5] 0:25 4 I. Andante maestoso, ‘Letzter musikalischer Gedanke’ (‘Last musical idea’) No.
  • Rehearing Beethoven Festival Program, Complete, November-December 2020

    Rehearing Beethoven Festival Program, Complete, November-December 2020

    CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time.
  • An Introduction to Music Studies Pdf, Epub, Ebook

    An Introduction to Music Studies Pdf, Epub, Ebook

    AN INTRODUCTION TO MUSIC STUDIES PDF, EPUB, EBOOK Jim Samson,J. P. E. Harper-Scott | 310 pages | 31 Jan 2009 | CAMBRIDGE UNIVERSITY PRESS | 9780521603805 | English | Cambridge, United Kingdom An Introduction to Music Studies PDF Book To see what your friends thought of this book, please sign up. An analysis of sociomusicology, its issues; and the music and society in Hong Kong. Critical Entertainments: Music Old and New. Other Editions 6. The examination measures knowledge of facts and terminology, an understanding of concepts and forms related to music theory for example: pitch, dynamics, rhythm, melody , types of voices, instruments, and ensembles, characteristics, forms, and representative composers from the Middle Ages to the present, elements of contemporary and non-Western music, and the ability to apply this knowledge and understanding in audio excerpts from musical compositions. An Introduction to Music Studies by J. She has been described by the Harvard Gazette as "one of the world's most accomplished and admired music historians". The job market for tenure track professor positions is very competitive. You should have a passion for music and a strong interest in developing your understanding of music and ability to create it. D is the standard minimum credential for tenure track professor positions. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres, e. Mus or a B. For other uses, see Musicology disambiguation. More Details Refresh and try again. Goodreads helps you keep track of books you want to read. These models were established not only in the field of physical anthropology , but also cultural anthropology.
  • PROGRAM NOTES Ludwig Van Beethoven Overture to Fidelio

    PROGRAM NOTES Ludwig Van Beethoven Overture to Fidelio

    PROGRAM NOTES by Phillip Huscher Ludwig van Beethoven Born December 16, 1770, Bonn, Germany. Died March 26, 1827, Vienna, Austria. Overture to Fidelio Beethoven began to compose Fidelio in 1804, and he completed the score the following year. The first performance was given on November 20, 1805, at the Theater an der Wien in Vienna. Beethoven revised the score in preparation for a revival that opened there on March 29, 1806. For a new production in 1814, he made substantial revisions and wrote the overture performed at these concerts. The overture wasn’t ready in time for the premiere on May 23, 1814, in Vienna’s Kärntnertor Theater, but it was played at the second performance. The overture calls for an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, timpani, and strings. Performance time is approximately six minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Beethoven’s Overture to Fidelio were given at the Auditorium Theatre on December 14 and 15, 1894, with Theodore Thomas conducting. Our most recent subscription concert performances of the overture (and the complete opera) were given at Orchestra Hall on May 26, 28, and 31, 1998, with Daniel Barenboim conducting. The Orchestra first performed this overture at the Ravinia Festival on July 16, 1938, with Willem van Hoogstraten conducting, and most recently on July 30, 2008, with Sir Andrew Davis conducting. Nothing else in Beethoven’s career caused as much effort and heartbreak as the composition of his only opera, which took ten years, inspired four different overtures, and underwent two major revisions and a name change before convincing Beethoven that he was not a man of the theater.
  • View of Secondary Sources, Evidence Was Inconclusive As to the Extent to Which Subject-Specific Studies Like This in Online Catalogs Had Previously Been Done

    View of Secondary Sources, Evidence Was Inconclusive As to the Extent to Which Subject-Specific Studies Like This in Online Catalogs Had Previously Been Done

    CORE SOURCES ON HARMONY AS REPRESENTED IN OHIO INSTITUTIONS: A SURVEY OF REPRESENTATIVE SOURCES FOUND IN OHIOLINK LIBRARIES ASSOCIATED WITH NASM-ACCREDITED MUSIC PROGRAMS A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Peter H. Lisius May, 2011 Thesis written by Peter H. Lisius B.A, Luther College, 1998 M.L.S., Indiana University, 2000 M.A., Kent State University, 2011 Approved by , Advisor Richard O. Devore , Director, School of Music Denise A. Seachrist , Dean, College of the Arts John R. Crawford TABLE OF CONTENTS TABLE OF CONTENTS………………………………………………………………. iii ACKNOWLEDGEMENTS……………………………………………………………... v CHAPTER I. INTRODUCTION…………............................................................................... 1 Background of Topic Need for the Study Methodology II. SOURCES ON HARMONY…………………………………………………. 6 Classification of Sources MT50 Library of Congress Classification Other Classifications Appropriate to Harmony Historical Sources Modern Sources Historical Textbooks Modern Textbooks Sources Important to Theorists and Students of Theory III. NASM-ACCREDITED SCHOOLS IN OHIO AND THEIR MUSIC PROGRAMS……………………………………….. 18 Divisions of Schools By: Highest Degree Conferred Specific Types of Degrees Conferred Existence of a Separate Music or Performing Arts Library Association with an ARL Institution IV. ANALYSIS OF RESULTS………………………………………………… 23 Search Results Examination of Sources Searched Against OhioLINK Holding Patterns in Comparison with Categories of NASM-Accredited Schools V. RECOMMENDATIONS/CONCLUSION………………………………….. 41 Trends of Holdings in Libraries Associated with NASM-Accredited Institutions Appropriateness of OhioLINK Library Holdings Relating to Sources on Harmony Recommendations as to How Libraries in Ohio Can Better Serve Their Patrons Conclusion iii APPENDICES A. OhioLINK Libraries: Sources on Harmony in NASM-Accredited Institutions (Ashland University through the University of Mount Union)………… 48 B.
  • Complete Dissertation

    Complete Dissertation

    LOOKING BACK, LISTENING FORWARD: A NEW TRANSCRIPTION OF LEOŠ JANÁČEK’S SUITE FOR STRINGS FOR DOUBLE WIND QUINTET IN THE HARMONIEMUSIK TRADITION A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Bradley Jay Miedema In Partial Fulfillment for the Degree of DOCTOR OF MUSICAL ARTS Major Department: Music June 2014 Fargo, North Dakota North Dakota State University Graduate School Title Looking Back, Listening Forward: A New Transcription of Leoš Janáček’s Suite for Strings for Double Wind Quintet in the Harmoniemusik Tradition By Bradley Jay Miedema The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTOR OF MUSICAL ARTS SUPERVISORY COMMITTEE: Dr. Warren Olfert Chair Dr. Robert Groves Dr. Jo Ann Miller Dr. Sherri Nordstrom Stastny Approved: June 27, 2014 Dr. John Miller Date Department Chair ABSTRACT The Harmoniemusik tradition has provided the wind chamber repertoire with a tremendous wealth of literature. Spanning the late eighteenth and early nineteenth centuries, these transcriptions of large-scale works had a formative influence on the creative activity of subsequent composers. Most notable are the transcriptions of operas. Some include more than twenty movements and capture much of the drama and intensity of the stage versions. While the Viennese wind octet with pairs of oboes, clarinets, bassoons and horns became the standard instrumentation for the properly defined Harmonie, many pieces were also arranged and composed for ensembles ranging from six to ten players. Composers such as Haydn (1732-1809), Stamitz (1745-1801), Mozart (1756-1791), Krommer (1759-1831), Beethoven (1770-1827) and Mendelssohn (1809- 1847) contributed works to the Harmoniemusik genre.