A MELODY FAVORED BY BEETHOVEN IN BALLET, CONTREDANSE, VARIATIONS, AND A SYMPHONIC FINALE

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dc.contributor.advisorWexler, Richarden_US
dc.contributor.authorAbbazio, Jessica M.en_US
dc.contributor.departmentMusicen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.date.accessioned2010-07-03T05:33:19Z
dc.date.available2010-07-03T05:33:19Z
dc.date.issued2010en_US
dc.description.abstractDuring the transition to his heroic period, Ludwig van Beethoven employed Classical era ideas in an experimental way that led to the discovery of his personal style. Beethoven's transition to the heroic style was marked by desire to compose music in what he referred to as a "new way." The refinement of his novel and complex heroic style occurred through technical experimentation with an idea known in this thesis as the Eroica Theme. In Opus 43, Die Geschöpfe des Prometheus, WoO 14, Zwölf Contretänze für Orchester, Opus 35, Fünfzehn Variationen (Es-dur) mit einer Fuge für Klavier, and Opus 55, Symphonie Nr. 3, "Sinfonia eroica," Beethoven built upon and expanded this idea to test the limits of its structural potential as symphonic material. Beethoven's use and manipulation of the Eroica Theme provides us with insight into the compositional process through which Beethoven developed his signature heroic style.en_US
dc.identifier.urihttp://hdl.handle.net/1903/10445
dc.subject.pqcontrolledMusicen_US
dc.subject.pquncontrolledBeethovenen_US
dc.subject.pquncontrolledEroica Symphonyen_US
dc.subject.pquncontrolledHeroic Styleen_US
dc.subject.pquncontrolledMusical Borrowingen_US
dc.subject.pquncontrolledOp. 35en_US
dc.subject.pquncontrolledPrometheusen_US
dc.titleA MELODY FAVORED BY BEETHOVEN IN BALLET, CONTREDANSE, VARIATIONS, AND A SYMPHONIC FINALEen_US
dc.typeThesisen_US

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