| Contents |
Part I. History and historiography. 'The biographical method', in Ludwig van Beethoven: Approaches to his Music, trans. Mary Whittall, Oxford: Clarendon Press, pp. 1-10 / Carl Dahlhaus (1991) -- 'Beethoven's hero', in Beethoven Hero, Princeton: Princeton University Press, pp. 3-28 / Scott Burnham (1995) -- '"Late", last, and least: on being Beethoven's Quartet in F major, op. 135', Music & Letters, 87, pp. 16-51 / K.M. Knittel (2006) -- 'Beethoven before 1800: the Mozart legacy', Beethoven Forum, 3, pp. 39-52 / Lewis Lockwood (1994) -- 'Beethoven and the London pianoforte school', Musical Quarterly, 56, pp. 742-58 / Alexander L. Ringer (1970) -- 'New roads to old ideas in Beethoven's Missa Solemnis', in Paul Henry Lang (ed.), The Creative World of Beethoven, New York: Norton, pp. 163-99 / Warren Kirkendale (1971) -- Part II. Documents and sketches. 'Beethoven's birth year', in Beethoven Essays, Cambridge, MA: Harvard University Press, pp. 35-42 / Maynard Solomon (1998) -- 'Das "Heiligenstädter Testament" im Licht der Freimaurerei. Beethovens "letzter Wille" als ein Beweis für seine Zugehörigkeit zur Logenbruderschaft?', Hudební veda, 38, pp. 376-96 / Hans-Werner Küthen (2001) -- 'New light on Beethoven's letter to an unknown woman', Musical Quarterly, 58, pp. 572-87 / Maynard Solomon (1972) -- 'Conversations with Beethoven', Musical Times, 111, pp. 25-28 / Alan Tyson (1970) -- 'Beethoven's understanding of "Sonata Form": the evidence of the sketchbooks', in William Kinderman (ed.), Beethoven's Compositional Process, Lincoln: University of Nebraska Press, pp. 14-19 / William Drabkin (1991) -- 'Beethoven's Sixth Symphony: sketches for the first movement', Journal of the American Musicological Society, 27, pp. 248-84 / Philip Gossett (1974) -- 'Plans for the structure of the String Quartet in C sharp minor op. 131', in Alan Tyson (ed.), Beethoven Studies 2, Oxford: Oxford University Press, pp. 106-37 / Robert Winter (1977) -- Part III. Analysis. 'Tovey's Beethoven', in Write all these Down: Essays on Music, Berkeley: University of California Press, pp. 155-72 / Joseph Kerman (1994) -- 'A case study for interpretation: the third movement of op. 106 (Hammerklavier)', in Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation, Bloomington: Indiana University Press, pp. 9-28 / Robert S. Hatten (1994) -- 'Form as the process of becoming: the Beethoven-Hegelian tradition and the "Tempest" sonata', Beethoven Forum, 4, pp. 37-71 / Janet Schmalfeldt (1995) -- 'The significance of recapitulation in Beethoven's "Waldstein" sonata', Beethoven Forum, 5, pp. 103-17 / Michael Spitzer (1996) -- 'Beethoven's experiments in composition: the late bagatelles', in Robert Morgan (ed.), Music: A View from Delft. Selected Essays, Chicago: University of Chicago Press, pp. 179-200 / Edward T. Cone (1989) -- Part IV. Aesthetics and hermeneutics. 'Adorno's diagnosis of Beethoven's late style: early symptom of a fatal condition', Journal of the American Musicological Society, 29, pp. 242-75 / Rose Rosengard Subotnik (1976) -- 'Beethoven and Romantic irony', Musical Quarterly, 56, pp. 647-64 / Rey M. Longyear (1970) -- 'Beethoven's "Orpheus in Hades": the Andante con moto of the Fourth Piano Concerto', 19th-Century Music, 8, pp. 195-212 / Owen Jander (1985) -- 'Beethoven and masculinity', in Scott Burnham and Michael P. Steinberg (eds), Beethoven and his World, Princeton: Princeton University Press, pp. 313-31 / Sanna Pederson (2000) -- 'Resisting the Ninth', 19th-Century Music, 12, pp. 241-56 / Richard Taruskin (1989) -- 'Beethoven's myth sympathy: Hollywood's re-construction', British Postgraduate Musicology, 8, at http://britishpostgraduatemusicology.org/bpm8/Rogers.html / Holly Rogers (2006). |
