國立虎尾科技大學 |

Beethoven's Last Piano Sonatas as Fantasy Sonatas.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Beethoven's Last Piano Sonatas as Fantasy Sonatas./
作者:	Fritsch, Michael F.
面頁冊數:	1 online resource (159 pages)
附註:	Source: Dissertations Abstracts International, Volume: 48-07, Section: A.
Contained By:	Dissertations Abstracts International48-07A.
標題:	Music. -
電子資源:	click for full text (PQDT)
ISBN:	9798205955089

Beethoven's Last Piano Sonatas as Fantasy Sonatas.
Fritsch, Michael F.

Beethoven's Last Piano Sonatas as Fantasy Sonatas. - 1 online resource (159 pages)

Source: Dissertations Abstracts International, Volume: 48-07, Section: A.

Thesis (D.M.)--Northwestern University, 1987.

Includes bibliographical references

The introduction to this study of Beethoven's late piano sonatas, "Developing an Underlying Conception that Explains 'Fantasy Sonata' thinspace", begins with a two-fold premise concerning the term, "Fantasy Sonata." The first part of this premise is that this term itself embodies a contradiction, since "fantasy" implies the following of one's whims, while "sonata" implies a stricter type of ogranization. The second part of the premise is that, if a conception could be found that could rectify this apparent contradiction, a framework could be found within which "Fantasy Sonata", as applied to Beethoven's last sonatas, could be understood. It is suggested that the concept of personally autonomous expression, the idea of each sonata as a living being analogous to the person, conceived at once in the mind of its creator, satisfies the requirements of both sonata and fantasy, since the idea of personality involves both unity (experience within one personality) and diversity (varying perceptions by one personality). Part II of the Introduction, "Fantasy Expressions Resulting from 'Biological' and 'Psychcological' Characteristics of Personally Autonomous Expression", illustrates by numerous examples from the sonatas the musical results of personally autonomous expression. These are, the automatic tendency toward growth (as expressed by diminutions), expression as a continuum, the tendency toward arbitrary treatment of melodic segments, and the functioning of each work within the personal mindset. Part III, "Deeper Expressions of Fantasy", sets forth the idea that the deepest expressions of fantasy in these works are those related to the illusion of the expression, musically, of absolute expression, that are not limited to the time frame of reference. It is suggested that absolute expression takes the form either of identity (the illusion of autonomously-lived time), or of multiplicity (the illusion in musical terms of the possession of the absolute self). The ideas described above are applied in a measure-by-measure analysis of all movements of Op. 101, and in the detailed analysis of several excerpts from the remaining sonatas (two from Op. 106, one for Op. 109, and one from Op. 110) that illustrate the shape these ideas take beyond Op. 101. (Abstract shortened with permission of author.).

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798205955089Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Beethoven's Last Piano Sonatas as Fantasy Sonatas.
LDR:03475ntm a22003137 4500 001 1144559
005 20240611104257.5
006 m o d
007 cr mn ---uuuuu
008 250605s1987 xx obm 000 0 eng d
020 $a 9798205955089
035 $a (MiAaPQ)AAI8722555
035 $a AAI8722555
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Fritsch, Michael F. $3 1469632
245 1 0 $a Beethoven's Last Piano Sonatas as Fantasy Sonatas.
264 0 $c 1987
300 $a 1 online resource (159 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 48-07, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
502 $a Thesis (D.M.)--Northwestern University, 1987.
504 $a Includes bibliographical references
520 $a The introduction to this study of Beethoven's late piano sonatas, "Developing an Underlying Conception that Explains 'Fantasy Sonata' thinspace", begins with a two-fold premise concerning the term, "Fantasy Sonata." The first part of this premise is that this term itself embodies a contradiction, since "fantasy" implies the following of one's whims, while "sonata" implies a stricter type of ogranization. The second part of the premise is that, if a conception could be found that could rectify this apparent contradiction, a framework could be found within which "Fantasy Sonata", as applied to Beethoven's last sonatas, could be understood. It is suggested that the concept of personally autonomous expression, the idea of each sonata as a living being analogous to the person, conceived at once in the mind of its creator, satisfies the requirements of both sonata and fantasy, since the idea of personality involves both unity (experience within one personality) and diversity (varying perceptions by one personality). Part II of the Introduction, "Fantasy Expressions Resulting from 'Biological' and 'Psychcological' Characteristics of Personally Autonomous Expression", illustrates by numerous examples from the sonatas the musical results of personally autonomous expression. These are, the automatic tendency toward growth (as expressed by diminutions), expression as a continuum, the tendency toward arbitrary treatment of melodic segments, and the functioning of each work within the personal mindset. Part III, "Deeper Expressions of Fantasy", sets forth the idea that the deepest expressions of fantasy in these works are those related to the illusion of the expression, musically, of absolute expression, that are not limited to the time frame of reference. It is suggested that absolute expression takes the form either of identity (the illusion of autonomously-lived time), or of multiplicity (the illusion in musical terms of the possession of the absolute self). The ideas described above are applied in a measure-by-measure analysis of all movements of Op. 101, and in the detailed analysis of several excerpts from the remaining sonatas (two from Op. 106, one for Op. 109, and one from Op. 110) that illustrate the shape these ideas take beyond Op. 101. (Abstract shortened with permission of author.).
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2024
538 $a Mode of access: World Wide Web
650 4 $a Music. $3 649088
655 7 $a Electronic books. $2 local $3 554714
690 $a 0413
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a Northwestern University. $3 1184372
773 0 $t Dissertations Abstracts International $g 48-07A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8722555 $z click for full text (PQDT)