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Form Surprise Beethoven String Quartet 12 Op_127 EbM Graduate Paper by Payman Akhlaghi 2005 UCLA v01

Form Surprise Beethoven String Quartet 12 Op_127 EbM Graduate Paper by Payman Akhlaghi 2005 UCLA v01

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Published by PAComposer
"Elements of Form and Surprise in Beethoven's String Quarter No. 12, Op. 127 in Eb Major" |
Author: Payman Akhlaghi |
Academic Research Paper, Toward Degree of PhD in Composition |
UCLA, 2005 |
Advisor: Professor Roger Bourland |
© 2055, 2011: Payman Akhlaghi. All rights reserved.

Excerpt:
"....Means of Coherence

Op. 127 is an epitome of Beethovenian organicism. Among the factors that are possibly ‎responsible for the structural stability and formal cohesion of this work, Symmetrical Structures, ‎Motivic, Intervallic and Tonal Relations, besides what can be broadly referred to as Architectural ‎Constructions seem to be most prominent. ‎
To begin, the Maestoso section seems to contain the core of the thematic material for the ‎first movement, and indeed, the entire quartet. The brief examination that follows could make ‎this thesis appear much less far-reaching than it might seem at first.‎
‎ ‎ The most prominent feature of the Maestoso is a multi-step reach toward the climax of the ‎phrase – four steps to be exact – which for the sake of simplicity, we shall refer to as the ‎‎‘ascending stairs’ motif. The first violin climbs up the span of a M6 interval, from Eb4 to the ‎upper C5, with two prominent leaps of P4 interval. The Maestoso ‎...."
مقالۀ تحقیقی موزیکولوژی و آهنگسازی به زبان انگلیسی
عناصر فرم و شگفتی در کوارتت زهی شمارۀ 12، اپوس 127 در می بمل ماژور
نویسنده: پیمان اخلاقی
به هدف مدرک دکترا در رشتۀ آهنگسازی
سال 2005، دانشگاه ایالتی کالیفرنیا، لس آنجلس (یو سی ال ای)ـ
استاد مشاور: پروفسور راجر بورلاند
تمامی حقوق برای مؤلف، پیمان اخلاقی، محفوظ است.ـ
"Elements of Form and Surprise in Beethoven's String Quarter No. 12, Op. 127 in Eb Major" |
Author: Payman Akhlaghi |
Academic Research Paper, Toward Degree of PhD in Composition |
UCLA, 2005 |
Advisor: Professor Roger Bourland |
© 2055, 2011: Payman Akhlaghi. All rights reserved.

Excerpt:
"....Means of Coherence

Op. 127 is an epitome of Beethovenian organicism. Among the factors that are possibly ‎responsible for the structural stability and formal cohesion of this work, Symmetrical Structures, ‎Motivic, Intervallic and Tonal Relations, besides what can be broadly referred to as Architectural ‎Constructions seem to be most prominent. ‎
To begin, the Maestoso section seems to contain the core of the thematic material for the ‎first movement, and indeed, the entire quartet. The brief examination that follows could make ‎this thesis appear much less far-reaching than it might seem at first.‎
‎ ‎ The most prominent feature of the Maestoso is a multi-step reach toward the climax of the ‎phrase – four steps to be exact – which for the sake of simplicity, we shall refer to as the ‎‎‘ascending stairs’ motif. The first violin climbs up the span of a M6 interval, from Eb4 to the ‎upper C5, with two prominent leaps of P4 interval. The Maestoso ‎...."
مقالۀ تحقیقی موزیکولوژی و آهنگسازی به زبان انگلیسی
عناصر فرم و شگفتی در کوارتت زهی شمارۀ 12، اپوس 127 در می بمل ماژور
نویسنده: پیمان اخلاقی
به هدف مدرک دکترا در رشتۀ آهنگسازی
سال 2005، دانشگاه ایالتی کالیفرنیا، لس آنجلس (یو سی ال ای)ـ
استاد مشاور: پروفسور راجر بورلاند
تمامی حقوق برای مؤلف، پیمان اخلاقی، محفوظ است.ـ

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Published by: PAComposer on Apr 24, 2011
Copyright:Traditional Copyright: All rights reserved

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11/07/2012

 
Elements of Form and Surprise inBeethoven’s
Late String Quartet No. 12, Op. 127, In E- lat Major 
Author: Payman Akhlaghi (2005) Graduate Research Paper, Toward Degree of PhD in Composition
Page 1 of 26© 2005, 2011: Payman Akhlaghi. All rights reserved.
.Com oserPA.com
Elements of Form and Surprise
InBeethoven’s
String Quartet No. 12
Op
. 127, in E-Flat Ma or
By
Payman Akhlaghi
Music 251B
Prof. Roger Bourland
Winter 2005
UCLA
 
Elements of Form and Surprise inBeethoven’s
Late String Quartet No. 12, Op. 127, In E- lat Major 
Author: Payman Akhlaghi (2005) Graduate Research Paper, Toward Degree of PhD in Composition
Page 2 of 26© 2005, 2011: Payman Akhlaghi. All rights reserved.
.Com oserPA.com
Introduction
An almost decade-long recess in Beethoven’s composing for string quartet was finallyover when his recently re-awakened interest in the genre was further reinforced by the offeringof a commission from Nicholas Galitzin, a Russian prince and a cellist in his own right.
Op. 127 
was completed in February 1825 and was premiered in the following month in Vienna. This firstof Beethoven’s so-called five
Late Quartets
– including the
Grosse Fugue
,
Op
.
133
– marks anunprecedented maturity and sophistication of technique and style in Beethoven’s quartet writing,and indeed, the hitherto history of the genre in general, a sophistication that is perhaps onlycomparable to his other four, which were composed soon afterwards. Beginning with thisquartet, aspects of form, harmony, tonal structure, textural design, thematic relations, andconsequently, performance technique and aural perception in quartet writing were radicallytransformed, and uncharted territories in musical expression were explored. The toweringachievements of Beethoven’s immediately preceding works, including the five late piano sonatas – 
Op
.
106 in Bb
(
 Hammerklavier 
) among them – 
Missa Solemnis
and
Symphony No. 9
, had prepared the composer’s creative powers enough to bring an entirely fresh air of imagination toquartet composition. Starting with
Op. 127 
, performers and audiences alike were left with anunparalleled legacy of compositions for this ensemble, at which to ponder and marvel for decades and centuries to come.In the following discussion, structural design of this quartet will be examined fromseveral perspectives, and certain elements, which are believed to constitute the salient means of coherence, contrast or surprise in the entire work, will be explored. Here an obvious point should
 
Elements of Form and Surprise inBeethoven’s
Late String Quartet No. 12, Op. 127, In E- lat Major 
Author: Payman Akhlaghi (2005) Graduate Research Paper, Toward Degree of PhD in Composition
Page 3 of 26© 2005, 2011: Payman Akhlaghi. All rights reserved.
.Com oserPA.com
 be reiterated, that it would have been naïve for any such study to have ever aimed for theimpossible task of exhausting the wealth of interpretive possibilities that are offered by thisunceasingly innovative composition.

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