Nineteenth International Conference on New Directions in the Humanities

Abstract

Beethoven’s works have generated streams of criticism over two centuries simply because his music resists easy description with established musical terms. This is especially true among his most celebrated and enigmatic compositions such as the Piano Sonata, Opus 111, the Grosse Fuge, Opus 133 or the Piano Variations, WoO 80. The failure of conventional terminology such as sonata form, theme, and variations, etc. to describe these compound musical structures acceptably over the centuries suggests a need for new technical terminology in their analysis. An enthusiastic visitor to stage productions in Vienna, Beethoven was well aware of dramatic and literary styles, types, and genres of his era. It therefore comes as no surprise to those who understand both music and theater that his abstract instrumental compositions abound with overall plans that coincide with the forms of drama. In fact, dramaturgy offers some far more manageable terms to describe Beethoven’s music than those currently in use by music theory. Especially notable are the identifiable dramatic envelopes of works such as the 32 Variations in C minor, WoO 80—an epic drama, or the Piano Sonata, Opus 111—a resurrection drama, or the Grosse Fuge, Opus 133—a comedy. Using both literary and musical nomenclature, this study shows how the overall musical plan and internal structure of three celebrated Beethoven works supports the idea that terms from one field of humanities are able to cross-pollinate those of another in order to advance its state of research.

Presenters

Stephen Husarik
Full Professor of Humanities and Music, Department of Music and Humanities, University of Arkansas - Fort Smith, Arkansas, United States