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Beethoven's Egmont, Count Egmont: An Imaginary Reading of Beethoven's Overture.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Beethoven's Egmont, Count Egmont: An Imaginary Reading of Beethoven's Overture./
Author:	Williams, Matthew.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
Description:	135 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-09, Section: A.
Contained By:	Dissertations Abstracts International82-09A.
Subject:	Music theory. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28314929
ISBN:	9798582508373

Beethoven's Egmont, Count Egmont: An Imaginary Reading of Beethoven's Overture.
Williams, Matthew.

Beethoven's Egmont, Count Egmont: An Imaginary Reading of Beethoven's Overture. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 135 p.

Source: Dissertations Abstracts International, Volume: 82-09, Section: A.

Thesis (Ph.D.)--State University of New York at Buffalo, 2021.

This item must not be sold to any third party vendors.

Much of the surface structure-the immediate drama of the music-has become lost in scholarship concerning Beethoven's Egmont overture. References to large-scale processes, whether they manifest as exhumations of deeply-embedded hierarchical events or as organic outgrowths of smaller motivic germs, paint an interpretive picture of a composer obsessed with high-level compositional practices. This dissertation instead develops a theory of analysis in which the musical surface drives the analytical perspective. Rather than deferring to subsurface musical events, I highlight the drama often missed in traditional large-scale analysis using hyper-focused, shallow-level technologies unified with agency.My fictional, mixed-reality agency machine, Reactive-Environment-Musical-You (or REMY), incorporates surface-level methodologies with historically-indebted musical agency. The analytical methodologies include pitch-class counterpoint, slicing the musical surface into distinct yet interconnected harmonic states, and maximal outerplanar graphs, graphically depicting musical hierarchy. "REMY" folds surface-level analyses and musical agency into a second-person, user-generated mixed-reality set within the historical confines of the programmatic work in question; here, in the mid-16th century Low Countries. This particular historically-driven perspective provides new musical insights of Beethoven's programmatic Egmont, and fashions the high-level, linear-minded composer into one reveling in the moment-to-moment dramatic immediacy of the Dutch Beeldenstorms.

ISBN: 9798582508373Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Agency

Beethoven's Egmont, Count Egmont: An Imaginary Reading of Beethoven's Overture.
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300 $a 135 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-09, Section: A.
500 $a Advisor: Moseley, Brian.
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506 $a This item must not be sold to any third party vendors.
520 $a Much of the surface structure-the immediate drama of the music-has become lost in scholarship concerning Beethoven's Egmont overture. References to large-scale processes, whether they manifest as exhumations of deeply-embedded hierarchical events or as organic outgrowths of smaller motivic germs, paint an interpretive picture of a composer obsessed with high-level compositional practices. This dissertation instead develops a theory of analysis in which the musical surface drives the analytical perspective. Rather than deferring to subsurface musical events, I highlight the drama often missed in traditional large-scale analysis using hyper-focused, shallow-level technologies unified with agency.My fictional, mixed-reality agency machine, Reactive-Environment-Musical-You (or REMY), incorporates surface-level methodologies with historically-indebted musical agency. The analytical methodologies include pitch-class counterpoint, slicing the musical surface into distinct yet interconnected harmonic states, and maximal outerplanar graphs, graphically depicting musical hierarchy. "REMY" folds surface-level analyses and musical agency into a second-person, user-generated mixed-reality set within the historical confines of the programmatic work in question; here, in the mid-16th century Low Countries. This particular historically-driven perspective provides new musical insights of Beethoven's programmatic Egmont, and fashions the high-level, linear-minded composer into one reveling in the moment-to-moment dramatic immediacy of the Dutch Beeldenstorms.
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