Book contents
- Beethoven Studies 4
- Beethoven Studies 4
- Copyright page
- Contents
- Figures
- Contents
- Music Examples
- Contributors
- Preface
- Abbreviations
- 1 From the Chapel to the Theatre to the Akademiensaal: Beethoven’s Musical Apprenticeship at the Bonn Electoral Court, 1784–1792
- 2 Gracious Beethoven?
- 3 Beethoven’s Unfinished Symphonies
- 4 Beethoven as Sentimentalist
- 5 Beethoven’s Nature: Idealism and Sovereignty from an Ecocritical Perspective
- 6 (Cross-)Gendering the German Voice
- 7 Beethoven and Tonal Prototypes: An Inherited and Developing Relationship
- 8 Shared Identities and Thwarted Narratives: Beethoven and the Austrian Allgemeine musikalische Zeitung, 1817–1824
- 9 Composing with a Dictionary: Sounding the Word in Beethoven’s Missa solemnis
- 10 Deafly Performing Beethoven’s Last Three Piano Sonatas
- Index of Beethoven’s Works
- General Index
7 - Beethoven and Tonal Prototypes: An Inherited and Developing Relationship
Published online by Cambridge University Press: 26 September 2020
Book contents
- Beethoven Studies 4
- Beethoven Studies 4
- Copyright page
- Contents
- Figures
- Contents
- Music Examples
- Contributors
- Preface
- Abbreviations
- 1 From the Chapel to the Theatre to the Akademiensaal: Beethoven’s Musical Apprenticeship at the Bonn Electoral Court, 1784–1792
- 2 Gracious Beethoven?
- 3 Beethoven’s Unfinished Symphonies
- 4 Beethoven as Sentimentalist
- 5 Beethoven’s Nature: Idealism and Sovereignty from an Ecocritical Perspective
- 6 (Cross-)Gendering the German Voice
- 7 Beethoven and Tonal Prototypes: An Inherited and Developing Relationship
- 8 Shared Identities and Thwarted Narratives: Beethoven and the Austrian Allgemeine musikalische Zeitung, 1817–1824
- 9 Composing with a Dictionary: Sounding the Word in Beethoven’s Missa solemnis
- 10 Deafly Performing Beethoven’s Last Three Piano Sonatas
- Index of Beethoven’s Works
- General Index
Summary
It is hardly surprising that the long tradition of partimento schemata is apparent in the music of Beethoven. Many of his teachers, including Haydn and Salieri, were raised in that pedagogic tradition, and the musical patterns surface consistently in Beethoven’s output. They are particularly evident in works that focus on the performer, such as concertos and fantasias, but their grammatical and syntactical features also contribute to the rarefied language of the late quartets.
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- Beethoven Studies 4 , pp. 144 - 165Publisher: Cambridge University PressPrint publication year: 2020