000 04370nam a22005295i 4500
001 208247
003 IT-RoAPU
005 20221214233717.0
006 m|||||o||d||||||||
007 cr || ||||||||
008 210830t20141995nju fo d z eng d
019 _a(OCoLC)979954518
020 _a9780691607931
_qprint
020 _a9781400864201
_qPDF
024 7 _a10.1515/9781400864201
_2doi
035 _a(DE-B1597)9781400864201
035 _a(DE-B1597)447967
035 _a(OCoLC)889250904
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aMUS006000
_2bisacsh
082 0 4 _a785.7194
084 _aonline - DeGruyter
100 1 _aChua, Daniel K. L.
_eautore
245 1 4 _aThe Galitzin Quartets of Beethoven :
_bOpp. 127, 132, 130 /
_cDaniel K. L. Chua.
250 _aCourse Book
264 1 _aPrinceton, NJ :
_bPrinceton University Press,
_c[2014]
264 4 _c©1995
300 _a1 online resource (294 p.) :
_b176 music exs., 2 tables
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aPrinceton Legacy Library ;
_v320
505 0 0 _tFrontmatter --
_tContents --
_tCHAPTER 1. Introduction --
_tCHAPTER 2. Motifs, Counterpoint, and Form. THE QUARTET IN E♭ MAJOR, OP. 127 --
_tCHAPTER 3. Unity and Disunity. THE FiRST MOVEMENT OF THE QUARTET IN A MINOR, OP. 132 --
_tCHAPTER 4. Rhythm, Time, and Space. THE LAST FOUR MOVEMENTS OF OP. 132 --
_tCHAPTER 5. Cadences and Closure. THE MIDDLE MOVEMENTS OF OP. 130 --
_tCHAPTER 6. Doubles and Parallels. THE FIRST MOVEMENT OF OP. 130 AND THE GROSSE FUGE, OP. 133 --
_tCHAPTER 7. Conclusion --
_tNOTES --
_tBIBLIOGRAPHY --
_tINDEX
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aThis study is an analysis of the first three of Beethoven's late quartets, Opp. 127, 132, and 130, commissioned by Prince Nikolai Galitzin. The five late quartets, usually considered as a group, were written in the same period as the Missa solemnis and the Ninth Symphony, and are among the composer's most profound musical statements. Daniel K. L. Chua believes that of the five quartets the three that he studies trace a process of disintegration, whereas the last two, Opp. 131 and 135, reintegrate the language that Beethoven himself had destabilized.Through analyses that unearth peculiar features characteristic of the surface and of the deeper structures of the music, Chua interprets the "Galitzin" quartets as radical critiques of both music and society, a view first proposed by Theodore Adorno. From this perspective, the quartets necessarily undo the act of analysis as well, forcing the analytical traditions associated with Schenker and Schoenberg to break up into an eclectic mixture of techniques. Analysis itself thus becomes problematic and has to move in a dialectical and paradoxical fashion in order to trace Beethoven's logic of disintegration. The result is a new way of reading these works that not only reflects the preoccupations of the German Romantics of that time and the poststructuralists of today, but also opens a discussion of cultural, political, and philosophical issues.Originally published in 1995.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2021)
650 7 _aMUSIC / Genres & Styles / Classical.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9781400864201
856 4 0 _uhttps://www.degruyter.com/isbn/9781400864201
856 4 2 _3Cover
_uhttps://www.degruyter.com/cover/covers/9781400864201.jpg
942 _cEB
999 _c208247
_d208247