Voice and Genre in Beethoven's Deux Grandes Sonates pour le Clavecin ou Piano-Forte avec un Violoncelle obligé, Op. 5

Description:

This paper examines the generic aspect of Beethoven's Opus 5 Cello Sonatas (1796) from structuralist and post-structuralist perspectives, and explores the works from these viewpoints in order to gain insights into how the sonatas function as autonomous musical texts rather than historiographic documents of Beethoven's biography or transitional contributions in the development of the genre of the solo sonata as it was later cultivated. The insights offered by these perspectives argue for a reconsideration of the conventional notions of "work" and "text," which underscore the doctrine of work-immanence. This perspective also offers insights that have proven elusive when the works are considered primarily in the context of the historical-biographical construct of Beethoven's three style-periods. By applying the aesthetic practice of expressive doubling prevalent at the turn of the nineteenth century to Beethoven's Opus 5 Sonatas, a deeper understanding of the constellation of the duo sonatas in accompanied keyboard literature will be attained. Also, by illuminating the relational nature of meaning realized within a textual framework, this study attempts to enlarge the restricted scope of interpretation conventionally imposed on the Opus 5 sonatas.

Creator(s): Kim, Jungsun
Creation Date: May 2004
Partner(s):
UNT Libraries
Collection(s):
UNT Theses and Dissertations
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Total Uses: 301
Past 30 days: 8
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Publisher Info:
Publisher Name: University of North Texas
Place of Publication: Denton, Texas
Date(s):
  • Creation: May 2004
  • Digitized: April 28, 2004
Description:

This paper examines the generic aspect of Beethoven's Opus 5 Cello Sonatas (1796) from structuralist and post-structuralist perspectives, and explores the works from these viewpoints in order to gain insights into how the sonatas function as autonomous musical texts rather than historiographic documents of Beethoven's biography or transitional contributions in the development of the genre of the solo sonata as it was later cultivated. The insights offered by these perspectives argue for a reconsideration of the conventional notions of "work" and "text," which underscore the doctrine of work-immanence. This perspective also offers insights that have proven elusive when the works are considered primarily in the context of the historical-biographical construct of Beethoven's three style-periods. By applying the aesthetic practice of expressive doubling prevalent at the turn of the nineteenth century to Beethoven's Opus 5 Sonatas, a deeper understanding of the constellation of the duo sonatas in accompanied keyboard literature will be attained. Also, by illuminating the relational nature of meaning realized within a textual framework, this study attempts to enlarge the restricted scope of interpretation conventionally imposed on the Opus 5 sonatas.

Degree:
Level: Master's
Discipline: Musicology
Department: College of Music
Language(s):
Subject(s):
Keyword(s): Beethoven | voice | Op. 5 | Cello Sonata
Contributor(s):
Partner:
UNT Libraries
Collection:
UNT Theses and Dissertations
Identifier:
  • OCLC: 57203478 |
  • ARK: ark:/67531/metadc4504
Resource Type: Thesis or Dissertation
Format: Text
Rights:
Access: Public
License: Copyright
Holder: Kim, Jungsun
Statement: Copyright is held by the author, unless otherwise noted. All rights reserved.