Becoming Beethoven: Theorizing Bonner Zeit Transitions

2020 ◽  
Vol 7 (1) ◽  
pp. 113-180
Author(s):  
Walter Everett
Keyword(s):  
Voice Leading ◽  
Heinrich Schenker ◽  
Close Study ◽  
Phrase Rhythm

Beethoven wrote about thirty sonata movements before leaving Bonn. Often disparaged as awkward (when not neglected entirely), these pieces deserve rehabilitation for the insights they can bring to the composer's masterworks. Influenced by local Rhenish models—Christian Gottlob Neefe, Andrea Luchesi, and Johann Franz Xaver Sterkel, the Bonner Zeit music imbues a galant style with Empfindsam colorings, producing an idiosyncratic approach to transitions and genre blending—particularly involving cue play surrounding multiple medial caesuras, elisions, phrase expansions, and undermined secondary themes—that responds immediately to Janet Schmalfeldt's perspective on the process of becoming as well as a mix of ideas from Heinrich Schenker, William Caplin, and the work of James Hepokoski and Warren Darcy, all applied here. Three of Beethoven's Bonn sonatas, as well as several works by Rhineland contemporaries, are given close study for their transition-related harmony, voice leading, phrase rhythm, topics, and formal implications.

SCHUBERT, SCHENKER AND THE ART OF SETTING GERMAN POETRY

2008 ◽  
Vol 5 (2) ◽  
pp. 209-236 ◽  
Author(s):  
WILLIAM DRABKIN
Keyword(s):  
Instrumental Music ◽  
Voice Leading ◽  
Heinrich Schenker ◽  
Musical Expression ◽  
Academic World ◽  
Tonal Structure ◽  
Relationship Of ◽  
The Relationship

Nearly half a century after gaining a solid footing in the academic world, the achievements of Heinrich Schenker remain associated more with tonal structure and coherence than with musical expression. The focus of his published work, exemplified largely by instrumental music from the eighteenth and early nineteenth centuries, supports this view. There are just five short writings about music for voices: two essays on Bach’s St Matthew Passion, one on the opening number from Haydn’s Creation, and two on Schubert songs. To be sure, romantic lieder appear as music examples for the larger theory books, but there they serve as illustrations of harmony, voice leading and form, rather than the relationship of word to tone.

Melody

2019 ◽  
pp. 396-436
Author(s):  
David Trippett
Keyword(s):  
Spatial Organization ◽  
Computational Analysis ◽  
Fundamental Concept ◽  
Voice Leading ◽  
Leonard Bernstein ◽  
The West ◽  
Musical Thought ◽  
The Rich ◽  
Theories Of Evolution ◽  
Phrase Rhythm

Melody is a fundamental concept in Western musical thought; it connotes the form and affective power of successive sounds in motion, perceived as an aesthetic unity. Yet for many writers, melody does not exist as an autonomous form, and for those who credit its existence, few agree on what it is, or how it functions in relation to harmonic voice leading and phrase rhythm. This chapter examines the historical emergence of a theory of melody in the West, from Aristoxenus to Leonard Bernstein; it traces the rich intellectual currents that saw melody variously coupled to ideas of voice, schemes of rhythmic symmetry, overtones, spatial organization, theories of evolution, and computational analysis.

scholarly journals How Register Tells the Story in Scriabin’s Op. 22, No. 2

2011 ◽  
Vol 17 (2) ◽  
Author(s):  
Martin Kutnowski
Keyword(s):  
Voice Leading ◽  
Piano Works ◽  
Phrase Rhythm

In Scriabin's Prelude Op. 22, No. 2, published in 1897, register unleashes a conflict between phrase rhythm and voice leading. A four-measure prototype is first established; a registral singularity within the prototype forces a phrase expansion in the second half of the piece. This deliberate conflict reveals a sophisticated compositional voice and helps us appreciate the artistry of Scriabin’s style in his early piano works.

scholarly journals Rules Are Made to Be Broken, or the Menuetto of Beethoven’s Op. 2, No. 1

Orfeu ◽  
2021 ◽  
Vol 6 (3) ◽  
Author(s):  
Poundie Burstein
Keyword(s):  
Voice Leading ◽  
Heinrich Schenker

A striking gesture appears at the climax of the first phrase of the Menuetto from Ludwig van Beethoven’s Sonata for Piano in F minor, Op. 2, No. 1. This motivic gesture, which may be understood as derived from manipulation of standard voice-leading procedures, has intriguing ramifications that deeply affect the structure and narrative of the entire movement. These features are explored with the aid of Schenkerian analytic procedures, and the analysis is then compared to an interpretation of this same movement by Heinrich Schenker.

The Time of Drama in Nietzsche and Deleuze: A Life as Performative Interaction

2010 ◽  
Vol 4 (1) ◽  
pp. 70-82 ◽  
Author(s):  
Arno Böhler
Keyword(s):  
Recurrent Events ◽  
Active Participation ◽  
Eternal Return ◽  
The Third ◽  
Close Study

Nietzsche's model of eternal return triggers a drama of affirmation, the overcoming of a simple miming of our ancestors in favour of an active participation in the counter-actualisation of hidden potentials in recurrent events. Based on a close study of Zarathustra's struggle to free himself from a suffocating nihilism, the paper focuses on the revelatory caesura that ushers in what Deleuze calls the third synthesis of time, a time of ‘doing’ rather than reflection.

Voice-Leading Spaces

1998 ◽  
Vol 20 (2) ◽  
pp. 175-208 ◽  
Author(s):  
Robert D. Morris
Keyword(s):  
Voice Leading

Cultivating Ice over Time: On the Idea of Timeless Knowledge and Places in the Himalayas

1969 ◽  
Vol 58 (2) ◽  
pp. 193-210 ◽  
Author(s):  
Karine Gagné
Keyword(s):  
Climate Change ◽  
Sense Of Community ◽  
Local Knowledge ◽  
Local Communities ◽  
International Organisations ◽  
Change Over Time ◽  
Local Populations ◽  
Close Study ◽  
Indian Himalayas ◽  
Over Time

Assumptions that local communities have an endogenous capacity to adapt to climate change stemming from time-tested knowledge and an inherent sense of community that prompts mobilisation are becoming increasingly common in material produced by international organisations. This discourse, which relies on ahistorical and apolitical conceptions of localities and populations, is based on ideas of timeless knowledge and places. Analysing the water-place nexus in Ladakh, in the Indian Himalayas, through a close study of glacier practices as they change over time, the article argues that local knowledge is subject to change and must be analysed in light of changing conceptions and experiences of place by the state and by local populations alike.

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