Shifting reception: Beethoven`s late style and op.109
| dc.contributor.author | Davies, James Quail | |
| dc.date.accessioned | 2014-03-12T09:58:18Z | |
| dc.date.available | 2014-03-12T09:58:18Z | |
| dc.date.issued | 2014-03-12 | |
| dc.description.abstract | Musicological modes of interpreting the late style works of Ludwig van Beethoven can be found to locate themselves between four historical extremes: “Contemporary”, “Romantic”, “Socio-Political” and “Formalist”. Given this background assumption, it becomes possible to document four opposing readings of a single late style work. This procedure of contriving shifting expressive meaning in a piece of music is applied, in this report, to the example of Beethoven’s Piano Sonata in E (Op. 109). Taken together, the disparate meanings and the contradictory musicological sites of reception which they represent, can be shown to bring critical insight to a fertile and wide-ranging appreciation of Op. 109. | en_ZA |
| dc.identifier.uri | http://hdl.handle.net10539/14118 | |
| dc.language.iso | en | en_ZA |
| dc.title | Shifting reception: Beethoven`s late style and op.109 | en_ZA |
| dc.type | Thesis | en_ZA |