The beginning of Beethoven's "Veritable Contrapunctual Obsession" - the fugue in Beethoven's Cello sonata in D major, Op. 102 No. 2

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dc.contributor.advisor Opie, Peter B.
dc.contributor.author Chang, Po-Chen
dc.date.accessioned 2020-08-25T13:01:01Z
dc.date.available 2020-08-25T13:01:01Z
dc.date.issued 2020-05-02
dc.identifier.uri http://cardinalscholar.bsu.edu/handle/123456789/202234
dc.description Access to thesis permanently restricted to Ball State community only en_US
dc.description.abstract The fugue movement in Beethoven’s D major sonata for cello and piano can be seen as the beginning of his fugal fixation, and it can also be viewed as the critical watershed between Beethoven’s middle and late period. This creative project outlines the historical background, offers some theoretical analysis, and also addresses certain interpretive challenges for the movement. The content focus is not only the setting of a double fugue with its typical succession of subject and answer, but also techniques of fugal composition such as changes of textures, stretto, and other aspects of this fusion of retrospective and modernist tendencies. en_US
dc.title The beginning of Beethoven's "Veritable Contrapunctual Obsession" - the fugue in Beethoven's Cello sonata in D major, Op. 102 No. 2 en_US
dc.description.degree Thesis (M.M.) en_US


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  • Creative Projects [3179]
    Creative projects submitted to the Graduate School by Ball State University master's degree candidates in partial fulfillment of degree requirements.

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