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The Concept of Unity and Uniqueness in the Multi-Movement Works of Beethoven : = An Analysis of the Selected Piano Sonatas - Opus 31, No. 3 and Opus 57.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	The Concept of Unity and Uniqueness in the Multi-Movement Works of Beethoven :/
Reminder of title:	An Analysis of the Selected Piano Sonatas - Opus 31, No. 3 and Opus 57.
Author:	O'Donohue, Deirdre Ann.
Description:	1 online resource (195 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 48-07, Section: A.
Contained By:	Dissertations Abstracts International48-07A.
Subject:	Music. -
Online resource:	click for full text (PQDT)
ISBN:	9798206409864

The Concept of Unity and Uniqueness in the Multi-Movement Works of Beethoven : = An Analysis of the Selected Piano Sonatas - Opus 31, No. 3 and Opus 57.
O'Donohue, Deirdre Ann.

The Concept of Unity and Uniqueness in the Multi-Movement Works of Beethoven :An Analysis of the Selected Piano Sonatas - Opus 31, No. 3 and Opus 57. - 1 online resource (195 pages)

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

Thesis (Ph.D.)--New York University, 1987.

Includes bibliographical references

It is the purpose of this study to investigate the means by which unification and potential uniqueness are achieved within and among the movements of the Beethoven piano sonates in Eb major, Opus 31, No. 3, and the sonata in F minor, Opus 57. The first chapter discusses the terms "unity" and "uniqueness" and reflects on Beethoven's interest in the expressive character and the individuality of his works. The following chapter presents the method used in this research. The initial layers of the investigation draw from Jan LaRue's style analytic method; the synthetic stages combine his approach with Ludwig Misch's theoretical concept of unity in a multimovement work in which process and function are essential features. In Chapter Three, the analysis of Opus 57 demonstrates that the forces contributing to unity and individuality are primarily structural entities, and that each entity has its own expressive function. In Chapter Four, the examination of Opus 31, No. 3 reveals a special process of pace and tension which contributes to the unity and individuality of this work. The final chapter evaluates Beethoven's choice of stylistic and structural gestures and the different processes he used in the creation of these two individual and, at the same time, highly unified works. Since uniqueness cannot be demonstrated with only two sonatas, the "potential" for uniqueness is stressed; and it is this area of investigation which generates implications for future research. If all of Beethoven's works were to be explored in a mode similar to the method presented here, the observation and comparison of Beethoven's processes contributing simultaneously to the unity and the individuation of character in each work would yield an answer to the question of ultimate uniqueness.

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

Mode of access: World Wide Web

ISBN: 9798206409864Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

The Concept of Unity and Uniqueness in the Multi-Movement Works of Beethoven : = An Analysis of the Selected Piano Sonatas - Opus 31, No. 3 and Opus 57.
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504 $a Includes bibliographical references
520 $a It is the purpose of this study to investigate the means by which unification and potential uniqueness are achieved within and among the movements of the Beethoven piano sonates in Eb major, Opus 31, No. 3, and the sonata in F minor, Opus 57. The first chapter discusses the terms "unity" and "uniqueness" and reflects on Beethoven's interest in the expressive character and the individuality of his works. The following chapter presents the method used in this research. The initial layers of the investigation draw from Jan LaRue's style analytic method; the synthetic stages combine his approach with Ludwig Misch's theoretical concept of unity in a multimovement work in which process and function are essential features. In Chapter Three, the analysis of Opus 57 demonstrates that the forces contributing to unity and individuality are primarily structural entities, and that each entity has its own expressive function. In Chapter Four, the examination of Opus 31, No. 3 reveals a special process of pace and tension which contributes to the unity and individuality of this work. The final chapter evaluates Beethoven's choice of stylistic and structural gestures and the different processes he used in the creation of these two individual and, at the same time, highly unified works. Since uniqueness cannot be demonstrated with only two sonatas, the "potential" for uniqueness is stressed; and it is this area of investigation which generates implications for future research. If all of Beethoven's works were to be explored in a mode similar to the method presented here, the observation and comparison of Beethoven's processes contributing simultaneously to the unity and the individuation of character in each work would yield an answer to the question of ultimate uniqueness.
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