UI392

COURSE APPROVAL DOCUMENT

UNIVERSITY STUDIES PROGRAM

Southeast Missouri State University

Department of Music

The Age of Romanticism UI392

New

I. Catalog Description and Credit Hours of Course:

This course will examine the Romantic Movement through an in-depth study of eight masterpieces of Romantic music in the context of their times. (3)

II. Justification for the Interdisciplinary Nature of the Course

This course combines the disciplines of musicology and cultural history in investigating a specific repertoire of music. The musicological approach to be used in this class will be that of music criticism, which aims to integrate musical analysis with historical and biographical details to achieve an aesthetic appreciation for the repertoire under study. Concurrent with the musical discipline, which will address the subject from the perspective of Artistic Expression, the course will study the Romantic movement through the perspective of the Development of a Major Civilization, with a particular emphasis on the cultural history of the period under review. Several teaching strategies will encourage this interdisciplinary approach. Students will be required to do source readings in studying the cultural history of the period (poetry, literature, art analysis, and so forth will be required reading). Guest performers and presenters who specialize in aesthetic or historical features of the nineteenth century will visit the class, and in-class activities will encourage the student to make links between the music under consideration and the world in which it appeared.

Romantic music reflected the peculiarly rich and turbulent era from which it sprang - whether in its Naturalistic, Empiricist, Realistic or Nationalist manifestations. By studying this music and the cultural developments of the era, the student will gain perceptions from both the disciplines of Artistic Expression and of Development of a Major Civilization. Furthermore, the creative output of Romantic composers has assumed and maintained a centrality in present-day concert programming (and has innumerable echoes/imitations in the output of Hollywood) and thus influences our current perception as to what music should be to an extraordinary degree. Studying the Age of Romanticism, the student will gain a deeper comprehension of the cultural history and artistic expressions of the nineteenth century, as well the epoch that was to follow.

III. Prerequisites: MH 251 and MH 252; or MU 181 or MU 182 by permission of the instructor(s); or by permission of the instructor(s).

IV. Purposes and Objectives of the Course:

A. The student will undertake a detailed study of eight outstanding works of the Romantic era, using the disciplines of criticism, active listening, analysis, and consideration of the cultural context in which they appeared. (University Studies Objectives: 2, 4, 5, 7, 8)

B. The student will develop their aesthetic awareness and judgment. (University Studies Objectives: 2, 7, 8)

C. The student will refine the ability to both write and talk about music at a level appropriate to the various disciplines of musicology, theory, analysis and criticism. (University Studies Objectives: 1, 3 ,6, 7, 8)

D. The student will gain an understanding of the political, social and cultural milieu in which Romanticism flowered. (University Studies Objectives: 1, 4, 5, 6)

E. The student will integrate a variety of intellectual disciplines and approaches (analytical, historical, contextual). (University Studies Objectives: 2, 5, 6)

V. Expectations of the Students:

A. Attend class and participate actively in class discussions, analysis, and respond to the works under scrutiny.

B. Successfully undertake dual oral/written presentations on various assigned topics for each set work.

C. Read assigned literature and pursue active listening exercises surrounding the eight set works.

D. Perform satisfactorily on all examinations.

VI. Course Outline:

This course is designed to permit the instructor(s) to develop a “subjects” approach to the course materials. Thus the general outline will remain intact, while specific works and composers under consideration may vary.

1. Introduction 3 hours

• Establish format and structure of Course

• Introduce the eight Set Works and some of the central figures of the era

• Contrast the Romantic ethos with that of the Classical world

• Precursors of the Romantic movement from earlier centuries

• The influence of Beethoven

2. Franz Schubert -- Trout Quintet 5 hours

• Schubert’s life and times

• Other works: C major String Quintet, Unfinished Symphony, Winterreise, Die Schone Mullerin

• Early nineteenth century Vienna

• Literary influences: Heine, Schiller, Shelley, Keats, Coleridge, Wordsworth, Coleridge

• The paintings of John Constable

• DuPre, Zukerman, Perlman, Barenboim, Mehta performance video

• Active listening, analysis and criticism

3. Hector Berlioz--Symphonie Fantastique 5 hours

• Berlioz’s music and career, including Harold in Italy, Overtures, L’Enfance du Christ

• Romantic painters: Friedrich, Gericault, Delacroix, Turner, Church and Bierstadt

• Drugs in the nineteenth century (DeQuincey)

• Byronic pessimism

• Shakespeare and the Romantic imagination

• Poe, Piranesi and Fuseli

• The Gothic/Sensation novel (Collins, LeFanu)

• Previn/Royal Philharmonic Orchestra video performance

• Active listening, analysis and criticism

4. Robert Schumann--Dichterliebe 5 hours

• Schumann’s life and career

• Compositions, including Symphonies, Piano Concerto

• Schubert and Schumann compared

• Clara Wieck Schumann

• The poetry of Heine, Keats and Burns

• Lieder as an art form

• Live performance in class

• Active listening, analysis and criticism

5. Richard Wagner--Tristan and Isolde 5 hours

• Wagner’s career and output

• Works including excerpts from The Ring, Die Meistersinger, Parsifal

• Mythology and the Romantic mind (Ossian, Mabinogion, Icelandic Sagas,Tennyson, Morris)

• The Gothic Revival

• Europe in the year of Revolution 1848

• Philosophy and music: Schopenhauer, Pater, Engels, Nietzsche, Spencer

• Wagner and anti-Semitism

• Video performance:National Theater of Munich/Mehta

• Active listening, analysis and criticism

6. Johannes Brahms--Piano Concerto #1 5 hours

• Life and works, including the four symphonies, violin concerto, German Requiem, piano works

• The Piano as central to Romantic utterance - in-class performances

• The rise of the virtuoso (Paganini, Liszt)

• The survival of Classicism in the Romantic world (Ingres)

• Performance recording: Arrau/Giulini/Philharmonia

• Active listening, analysis and criticism

7. Anton Bruckner--Symphony #9 5 hours

• Life and works, including Symphonies 4 and 7

• The Brahms-Bruckner controversy

• Faith in the Age of Doubt: Hopkins, Tennyson, Hardy, Arnold, the Oxford Movement

• Bruckner and the Mass

• Heroic Materialism: engineering as the essential nineteenth century art form (Eiffel, Brunel, Bazelgette, Roebling, Paxton, Krupp)

• Performance recording:Eugen Jochum/Berlin P.O.

• Active listening, analysis and criticism

8. Antonin Dvorak--Symphony #8 5 hours

• Life and works, including Cello Concerto, Symphonies 7 and 9

• Nationalism in music: Verdi, Smetana, the Russian Five, the English School

• Dvorak’s American sojourn - the American musical scene

• Political Nationalism in Europe post-Napoleon

• Performance recording: Kubelik/Berlin Philharmonic

• Active listening, analysis and criticism

9. Edward Elgar--Cello Concerto 5 hours

• Life and works, especially the symphonies, The Dream of Gerontius, Violin Concerto, Enigma Variations

• Romantic disillusionment: Housman, Hardy

• Elgar and his contemporaries Strauss and Mahler

• The new world: Einstein, Freud, Cubism, Stravinsky and Schoenberg

• The British Empire

• The Great War and literature: Barbusse, Remarque, Brooke, Seeger, Owen, Rosenberg

• Video performance: Jacqueline DuPre

• Active listening, analysis and criticism

10. Conclusion

• Synthesis of the Romantic period

• How Romanticism changed between Wordsworth’s dawn and the Western Front

• How were these changes reflected in the eight set works?

• Romanticism’s survival into the twentieth (twenty-first?) century

VII. Basis of student evaluations:

Examinations (3)............................................................................30%

Research Paper/Oral Presentation (2)..........................................40%

In-class activities including active listening

exercises, analyses and participation in

class discussions............................................................................30%

Total..............................................................................................100%

VIII. Justification for inclusion in the University Studies Program.

1. Demonstrate the ability to locate and gather information.

Emphasis: Significant

1. Content: The Duke of Wellington said: “All the business of life is to endeavor to find out what you don’t know by what you do.” Locate and gather activities will be a constant throughout this course. Students will be required to carry out research and reading assignments in the Music Resource Center and Kent Library in order to be able to participate in class discussions and activities. Original research will be required for the culminating research paper. Students will be obliged to energetically locate and gather information in order to stay current in class discussions.

2. Teaching Strategies: Instructors’ presentations and material will be based upon a wide array of sources with which the students must become familiar, encompassing everything from the pessimism of Byronic poetry and assessments of the Gothic Revival, to considerations of the experience of the Western Front, and primarily, of course, critical and analytical approaches to the music found in the eight Set Works. Materials from a wide variety of sources will need to be accessed by the student, including internet research, score study, close examination of audio and visual sources, and literary, critical, and historical sources. The instructors will assist students in locating and gathering information from this broad spectrum of sources. In particular, tutorials on the use of resources housed in the Music Resource Center will be provided to students unfamiliar with that facility.

3. Student Assignments: Students will have to research the social, cultural and political background to acquire a cultural context for the eight Set Works. They will be required to locate the panoply of printed, audio and video material relating to each piece and composer, and from this they will cull information relevant to their own analytical projects.

4. Evaluation of Student Performance: Students will be evaluated on the basis of the thoroughness and accuracy of their research and thought as demonstrated in the written/oral research projects. Further, students will be expected to go beyond a mere regurgitation of facts as they fuse disparate kinds of data retrieved into a more complete perspective on the Romantic canon. Additionally, students will be evaluated on their ability to locate and gather information on a weekly basis so that they can remain current with class activities.

2. Demonstrate capabilities for critical thinking, reasoning and analyzing.

Emphasis: Significant.

1. Content: This Objective (along with number 8) is most central to this course. Analysis of the eight Set Works--allied to active listening--is the essential thread binding all the extra-musical, interdisciplinary material together. This Objective will be pursued following the model suggested by Joseph Kerman in Contemplating Music: “Paleography, transcription, repertory studies, archival work, biography, bibliography, sociology, Aufführungspraxis, schools and influences, theory, style analysis, individual analysis--each of these things. . . is treated as a step on a ladder. Hopefully the top step provides a platform of insight into individual works of art. These works cannot be understood in isolation, only in a context. The infinitely laborious and infinitely diverting ascent of the musicologist should provide this context.”

2. Teaching Strategies: Class activities will be directly related to the development of analytical understanding of the music experienced in class. The ability to recognize, acknowledge and argue over the architectural underpinning of the Set Works will be fostered by modelling by the instructors, active listening, guest presentations, appropriate readings, and class discussions.

3. Student Assignments: This Objective will be felt in all of the student assignments. Active participation in class discussions and listening experiences will hone the development of skills in analysis and criticism. The oral/written research presentations and shorter writing exercises will require that students analyze the musical elements present in specific works. Additionally, the growth in complexity and boldness that characterize the evolution of Romanticism in music will be charted during this course, as students trace the progression from Schubert to Elgar (or, as a parallel instance, Heinrich Heine to Wilfred Owen ). Each examination will significantly reflect the analytical component.

4. Evaluation of Student Performance: Students will be evaluated on the basis of their success in acquiring both the analytical skills necessary to comprehend the stature and achievement represented by this music, and the degree to which they can demonstrate recognition of the contemporary milieu which was its background. Written assignments on such topics as phrase analysis of Berlioz’s Symphonie Fantastique and the emotional/expressive content of Schumann’s Dichterliebe will be given. Examinations will assess students’ ability to analyze music using a variety of procedures, as well as provide critical thinking on the role of Romantic music in its time. Specifically, such questions as (1) Describe Berlioz’s revolutionary procedures in orchestration; (2) Trace the autobiographical influences in Elgar’s music; (3) Compare and contrast lieder from the early and late Romantic Period; (4) Summarize the early Romantic view of human relationships as expressed in both the words and music of Dichterliebe,and (5) Describe the contemporary political influences that factor in Wagner’s great “music-dramas”; will appear in examinations.

3. Demonstrate effective communication skills.

Emphasis: Significant.

1. Content: Written and oral communication skills will be inescapable facets of this course. Students will communicate their observations and feelings concerning the music they experience via the written word, class discussions and all analysis projects. Active listening will demand that students express verbally their analyses and responses to music heard. Written projects should represent reasoned, cogent, as well as emotional responses.

2 . Teaching Strategies: These will include instructor presentations (for instance on how to approach a music analysis paper and how this differs from papers appropriate to other disciplines). Teaching strategies will rely preponderantly on class discussions that call for the employment of an accurate and apposite vocabulary and methodological approach. Written skills will also be nurtured as the instructors address both the content and syntax of the essays submitted.

3. Student Assignments: These will tackle the issue of effective communication in both the written and oral realms. There will be two research projects which will carry with them the opportunity for each student to experience the challenge of presenting a topic in both the written and spoken form-- very different challenges. Additionally, the students will be examining music, compositions that are themselves a very particular and profound means of expression and communication. All student assignments will mirror some level of understanding this species of human communication.

4. Evaluation of Student Performance: All evaluations of student performance in this course will directly reflect their effectiveness in communication. Student contributions in class discussions will be evaluated, as will the quality of the written work. Each student must demonstrate successful achievement in written communication (term papers, briefer analysis papers), oral communication (class forums, oral presentations on chosen topics), and non-verbal communication (responses to the emotional content of Romantic music) in order to receive a satisfactory grade in this course.

4. Demonstrate an understanding of human experiences and the ability to relate them to the present.

Emphasis: Considerable.

1. Content: In Civilisation Kenneth Clark quoted Byron to epitomize “European man once more reaching for something beyond his grasp”:

Once more upon the waters! yet once more!

And the waves beneath me bound as a steed

That knows his rider. Welcome to their roar!

Swift be their guidance, wheresoe-er it lead!

This urge “to confront the infinite” (well-fortified with exclamation points) went hand in hand with nineteenth century developments that underpin our own, contemporary experience - belief in the validity of psychology, reliance upon technology and mass industrialization, and the predominance of the urban experience. The lessons to be drawn from both the Romantics’ successes, as well as their failures, are universal.

2. Teaching Strategies: Instructor and guest presentations, discussions and demonstrations will address this Objective in two distinct ways. First, the course will consider the musical and biographical circumstances surrounding composition of each set work - for instance, the Elgar Cello Concerto’s appearance at the same time as his beloved wife and mainstay, Alice, was dying; second, the course will study the tumultuous and rapidly changing world in which each work was composed: a world which boasted figures such as Byron, Balzac, Tolstoy, Bismarck, Queen Victoria, Oscar Wilde, Gustave Eiffel, Freud and Einstein, and events as epochal as the American Civil War, the establishment of the Second Reich, the British Empire attaining its zenith, the germination of both Communism and Humanitarianism, and ultimately the “Great War for Civilisation”. This historical/biographical data will be linked to the production of each Set Work.

3. Student Assignments: To supplement the primary stream of analytical work, this course will be fleshed out with excursions into the Romantic world, including, but not limited to, considerations of nineteenth century engineering marvels, the Gothic Revival, Origin of Species, the Oxford Movement, the poems of Schiller, Heine, Poe, Wordsworth and Byron, and the paintings of Friedrich, Goya, Delacroix, Gericault and Turner. Students will examine the extent to which Romantic music, in all genres, reflected its times.

5. Demonstrate an understanding of various cultures and their interrelationships.

Emphasis: Considerable.

1. Content: “It’s coming yet for a’ that

That man to man the warld o’er

Shall brothers be for a’ that”

So wrote the Scots poet Robert Burns, perceiving and prophesying the wrench from the Feudal to the Modern world that was to take place during the 1800s. An investigation of the transitions taking place in the Romantic world help us not only to understand better the music of the time, but also will throw light and perspective on our own, contemporary culture. To what extent are we, living at the start of the twenty-first century, legatees of the Romantic movement?

2. Teaching Strategies: Class forums, instructor presentations, readings, and selected video excerpts will help address this Objective and assist students in grasping the ways in which the world of the nineteenth century resembles our own, and in what ways it does not. On a musical plane, to what extent do trends in contemporary music reflect a debt to Romanticism?

3. Student Assignments: Class discussions and questions in each of the three examinations will require that the students reflect and comment upon the cultural impulses of the Romantic world and the link to our own. Among others, students will be afforded the opportunity to consider Romantic orchestral and chamber music, and operas, sometimes in multiple performing versions, and will comment upon the points of divergence.

6. Demonstrate the ability to integrate the breadth and diversity of knowledge and experience.

Emphasis: Significant.

1. Content: This course will relate the various cultural, political and sociological aspects of the nineteenth century to a variety musical masterworks from the period. Reference to European cultural, political and social history will be made as students follow each step in the ascent of Romantic music. Use of such documents as Tennyson’s In Memoriam, Byron’s The Prisoner of Chillon, excerpts from Nietzsche and Baudelaire, The Prelude of Wordsworth, Berlioz’s letters, and the pictures of Friedrich, Fuseli and Turner will challenge and encourage students to integrate their understanding of Romantic music within the wider context of human experience. The study of Music’s pivotal impact on the cultural world of the nineteenth century will also foster a world view of the contributions of art in shaping the human experience.

2. Teaching Strategies: Class discussions and presentations will concern themselves with this Objective throughout. Romantic music will be studied as a product of its own culture, which will be demonstrated in class activities through analysis, reading projects, slides, lectures, and discussion groups. The Set Works will not be studied as random acts of creativity; but rather, as the creative products of a complex, turbulent era.

3. Student Assignments: Walter Pater asserted that all art aspired to the condition of music at this period. Music flowed at full tide through not only the arts but other aspects of life. In this course, for example, the political dimension driving the operatic output of Verdi and Wagner will come under scrutiny. Further, the question as to what extent the tangible techno/industrial achievements of Heroic Materialism are reflected in the ever-growing scale and scope of Romantic utterance will be addressed. On a more tangible plane, the question of technology’s effect on the “business of music” will be examined (for instance, the manner in which rotary steam presses facilitated music printing, or the fact of the thousand-fold growth in production of pianos by the Broadwood company between 1830 and 1890). Each examination will contain questions that emphasize the integration of societal/cultural information.

4. Evaluation of Student Performance: The demonstrated breadth and quality of a student’s integrated awareness of the Romantic era will be a significant factor in evaluating that student’s written and oral work.

7. Demonstrate the ability to make informed, intelligent value decisions.

Emphasis: Significant

1. Content: The listed Set Works are universally regarded as beacons, “great” music. One of the aims of this course will be to encourage students to evaluate why this is so. Is this music still relevant (“great”) today, and if so, why? What are the musical factors that add up to “greatness”? This course will require students to approach the music of Romanticism in a multi-disciplinary manner, evaluating the music through analytical, critical, and contextual approaches. An inquiry into the artistic value of the works will prompt students to examine their own value systems and preferences in music, and to comprehend truly the stature of these pieces, not merely to accept received wisdom in an undiscriminating way.

2. Teaching Strategies: The instructors will vigorously support student efforts to express and examine their opinions, both orally and on paper. The students’ value systems with respect to the music they listen to or play will be challenged via discussions and exercises relating to Romantic music in its own day, as well as in our own. The students will be encouraged to investigate and evaluate the cultural and historical events of the Age of Romanticism.

3. Student Assignments: This Objective will be promoted by harnessing the student’s potential in using the fullest tools of analysis and emotional response in written projects and class colloquia.

4. Evaluation of Student Performance: The attainment of this Objective will be assessed through the quality of class participation and the students’ ability to draw meaningful conclusions out of the raw data of analysis. It will also be assessed through class projects such as comparing how Bruckner, Brahms and Dvorak took the patterns of Beethoven and launched them into new spheres; comparing the art of the Pre-Raphaelites with that of the Impressionists; comparing the style of Tennyson with that of Oscar Wilde; or that of Canova with Rodin; and will feature in each examination.

8. Demonstrate the ability to make informed, sensitive aesthetic responses.

Emphasis: Significant.

1. Content: From the very outset, the students will be challenged to develop their ability to meet this Objective on an emotional and analytical level. Along with Objective 2, this Objective represents the primary thread running through this course. The music comprised in the eight Set Works exhibits a huge expressive range, yet shares the central Romantic doctrine of aspiring to express the numinous. By acquainting students with a variety of analytical skills (formal, harmonic, rhetorical; the study of orchestration; performance practice issues) and with the cultural and historical context of the nineteenth century, they will be oriented towards a critical approach to Romantic music. As Edward Cone states, “The artist must be a critic. The observer must be a critic. . . . We should recognize the limitations of both theory and analysis and. . . should call upon all modes of knowledge, including the theoretical, the analytical, and the intuitive, to help us achieve a proper critical response to a piece of music.”

2. Teaching Strategies: Instructors’ presentations, readings, guest lectures/performances, and, most of all, active listening linked to score analysis, will serve to forward this Objective.

3. Student Assignments: Analysis exercises, readings, and especially exposure to some of the greatest orchestras/performers/conductors realizing Romantic masterworks music will cultivate informed and sensitive responses.

4. Evaluation of Student Performance: The evaluation of students’ aesthetic awareness will occur through the intelligence of class discussion, the ability to draw conclusions from analysis, and well-rounded performance in each examination. For instance, students will need to be able to clearly compare and contrast the emotional content of works from the early, middle, and late manifestations of Romanticism. Such questions as: “ Survey the expressive and dramatic contrasts found in the five movements of “Symphonie Fantastique,” will appear on examinations. Students will also choose a research topic on some field of inquiry of interest to that student, such as, performance practices in Chopin’s piano music; unifying features in Bruckner’s Symphony No. 9; the inherent pessimism in Tchaikovsky’s last symphony; the new “sound world” of Berlioz’s orchestration; and so forth.

9. Demonstrate the ability to function responsibly in one’s natural, social and political environment.

Emphasis: Some.

1. Content: Students will gain an understanding of the society and culture of the Romantic era through class discussions which will focus on these issues. Research concerning the literature, art, and philosophy of the time will be carried out; the course will also address such topics as the political and social structures of Europe in the nineteenth century.

2. Teaching Strategies: Instructors will comment upon the social and political life of the nineteenth century. Discussions concerning the political climate of Europe from after Waterloo to the outbreak of the Great War will be addressed in class meetings. Readings concerned with various composers’ roles as individuals both in concert and in conflict with the established political and social order will be assigned. The composer’s new role (established by Beethoven at the outset of the period under consideration) as standard bearer for humanity and culture hero will be examined.

IX. Instructor’s Background.

Instructors for The Age of Romanticism should possess a graduate degree in music as well as a thorough familiarity with the Romantic output and the cultural context in which the Set Works appeared.

X. Class Size.

The optimum class size for this course will be from 16 to 20 students, representing a figure large enough to anticipate a broad cross-section of views and approaches, while remaining small enough for the instructors to be able to devote time to each individual enrolled.

Course proposed by Mr. Paul Thompson, Department of Music.

Appendix A

Bibliography: Beethoven

Albrecht, Theodore, ed. Letters to Beethoven and Other Correspondence. Translated and edited by Theodore Albrecht. Lincoln, NE: University of Nebraska Press, c. 1996. RES

Anderson, Emily. Letters of Beethoven. Three vols. New York: St. Martin’s Press, Inc., 1961. RES

Arnold, Denis, ed. The Beethoven Reader. New York: W. W. Norton, 1971.

Barth, George. The Pianist as Orator: Beethoven and the Transformation of Keyboard Style. Ithaca, N.Y.: Cornell University Press, c. 1992.

Beethoven, Ludwig van. Letters, Journals, and Conversations. Edited, translated, and introduced by Michael Hamburger. Westport, Conn.: Greenwood Press, 1978. RES

Blom, Eric. Beethoven’s Pianoforte Sonatas Discussed. New York: Da Capo Press, 1968. (Reissue of the original 1938 edition.

Cooper, Barry. Beethoven and the Creative Process. Oxford: Clarendon Press; New York: Oxford University Press, 1990.

Cooper, Martin. Beethoven, The Last Decade, 1817-1827. London: Oxford University Press, 1970.

Dalhaus, Carl. Ludwig van Beethoven: Approaches to his Music. Oxford: Clarendon Press, 1991. [RES]

Dennis, David B. Beethoven in German Politics, 1870-1989. New Haven: Yale University Press, c. 1996.

DeNora, Tia. Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803. Berkeley: University of California Press, 1995.

Drake, Kenneth. The Sonatas of Beethoven as he played and taught them. Cincinnati: MTNA, 1972.

Fischer, Hans Conrad and Erich Kock. Ludwig van Beethoven: A Study in Text and Pictures. London: MacMillan, 1972. [RES]

Forte, Allen. The Compositional Matrix. Baldwin, N.Y.: Music Teachers National Association,

c. 1961.

Greene, David. Temporal Processes in Beethoven’s Music. New York: Gordon and Breach, c. 1982.

Hopkins, Antony. The Nine Symphonies of Beethoven. London: Heinemann, 1981. [RES]

. The Seven Concertos of Beethoven. Aldershot, England: Scolar Press, c. 1996. RES

Kinderman, William. Beethoven’s Diabelli Variations. Oxford: Clarendon Press, 1987.

Johnson, Douglas. The Beethoven Sketchbooks: History, Reconstruction, Inventory. Berkeley: University of California Press, 1985. RES

Jones, Timothy. Beethoven, The Moonlight and Other Sonatas, Op. 27 and Op. 31. Cambridge, UK: Cambridge University Press, 1999.

Kerman, Joseph. The Beethoven Quartets. New York: A. A. Knopf, 1967.

Kolodin, Irving. The Interior Beethoven: a Biography of the Music. New York: A. A. Knopf, 1975.

Landon, H. C. Robbins. Beethoven: His Life, Work, and World. Compiled and edited by H. C. Robbins Landon. New York: Thames and Hudson, 1993. [RES]

Levy, David Benjamin. Beethoven, the Ninth Symphony. New York: Schirmer Books, c. 1995.

Levy, Janet M. Beethoven’s Compositional Choices. Philadelphia: University of Pennsylvania Press, 1982.

Lockwood, Lewis. Beethoven: Studies in the Creative Process. Cambridge, Mass.: Harvard University Press, 1992.

Mellers, Wilfrid Howard. Beethoven and the Voice of God. New York: Oxford University Press, 1983. [RES]

Mies, Paul. Beethoven’s Sketches: an Analysis of His Style Based on a Study of His Sketch-Books. New York: Dover Publications, 1974.

Nettl, Paul. Beethoven Handbook. New York: Ungar Publishing Co., 1967.

Newman, William S. Beethoven on Beethoven: Playing His Piano Music His Way. New York: Norton, c. 1988. RES

Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. Expanded edition. New York: W. W. Norton, c. 1997. RES

Scherman, Thomas. The Beethoven Companion. Garden City, NY: Doubleday, 1972.

Sipe, Thomas. Beethoven: Eroica Symphony. Cambridge, UK: Cambridge University Press, 1998.

Solomon, Maynard. Beethoven. New York: Schirmer Books, c. 1977. [RES]

. Beethoven Essays. Cambridge, Mass.: Harvard University Press, 1988.

Sonneck, O. G., ed. Beethoven: Impressions by His Contemporaries. New York: Dover Publications, 1967. [RES]

Thayer, Alexander Wheelock. Thayer’s Life of Beethoven. Revised and edited by Elliot Forbes. Princeton, N.J.: Princeton University Press, 1967. RES

Tovey, Donald Francis, Sir. Essays in Musical Analysis. London: Oxford University Press,

1935-39.

Tyson, Alan. Beethoven Studies. New York: W. W. Norton, 1973.

Wallace, Robin. Beethoven’s Critics: Aesthetic Dilemmas and Resolutions During the Composer’s Lifetime. Cambridge, UK: Cambridge University Press: 1986.

Wegeler, Franz Gerhard. Beethoven Remembered: the Biographical Notes of Franz Wegeler and Ferdinand Ries. Arlington, VA.: Great Ocean Publishers, c. 1987.

Winter, Robert. Compositional Origins of Beethoven’s Op. 131. Ann Arbor, Mich.: UMI Research Press, c. 1982.

Wyn Jones, David. Beethoven, Pastoral Symphony. Cambridge, UK: Cambridge University Press, 1995.

Bibliography: General

Austen, Jane. Northanger Abbey. London: Zodiac Press, 1975.

Bewell, Alan. Wordsworth and the Enlightenment: Nature, Man, and Society in the Experimental Poetry. New Haven: Yale University Press, c. 1989.

Boyle, Nicholas. Goethe: the Poet and the Age. Oxford: Oxford University Press, 1991.

Bryant, Arthur, Sir. The Age of Elegance, 1812-1822. New York: Harper, 1950.

. The Years of Endurance, 1793-1802. New York: Harper, 1942.

Clark, Kenneth. Civilisation: A Personal View. New York: Harper and Row, 1969.

Cranston, Maurice. The Romantic Movement. Oxford: Blackwell, 1994.

Francis, Mark, ed. The Viennese Enlightenment. New York: St. Martin’s Press, 1985.

Hanson, Alice. Musical Life in Biedermeier Vienna. London: Cambridge University Press, 1985.

Howarth, David Armine. Trafalgar: the Nelson Touch. New York: Atheneum, 1969.

Musulin, Stella. Vienna in the Age of Metternich: from Napoleon to Revolution, 1805-1848. Boulder, Co.: Westview Press, 1975.

O’Brian, Patrick. Master and Commander. New York: W. W. Norton, 1990.

Reynolds, Graham. Turner. New York: H. N. Abrams, 1969.

Roehr, Sabine. A Primer on German Enlightenment: with a Translation of Karl Leonhard Reinhold’s The Fundamental Concepts and Principles of Ethics. Columbia: University of Missouri Press, c. 1995.

Rousseau, Jean-Jacques. Discourse on Political Economy and the Social Contract. Translated with introduction and notes by Christopher Betts. Oxford; New York: Oxford University Press, 1994.

Schama, Simon. Citizens: a Chronicle of the French Revolution. New York: Knopf, 1989.

Schiller, Friedrich. Friedrich Schiller: Poet of Freedom. 1st edition. New York: New Benjamin Franklin House, 1985.

. Selections from the Correspondence Between Schiller and Goethe. Boston: Ginn &

Company, 1898.

Stanlis, Peter, ed. Burke, Edmund: The Enlightenment and the Modern World. Detroit: University of Detroit Press, c. 1967.

Voegelin, Eric. From Enlightenment to Revolution. Durham, N.C.: Duke University Press, 1975.

Voltaire. Candide. Translation by Richard Aldington. New York: The Literary Guild, 1929.

Wilson, Ellen. Encyclopedia of the Enlightenment. New York: Facts on File, c. 1996.

Wordsworth, William. The Complete Poetical Works of William Wordsworth. Edited by A. J. George. Boston: Houghton, Mifflin, c. 1904.

Appendix A

Bibliography: Beethoven

Albrecht, Theodore, ed. Letters to Beethoven and Other Correspondence. Translated and edited by Theodore Albrecht. Lincoln, NE: University of Nebraska Press, c. 1996.

Anderson, Emily. Letters of Beethoven. Three vols. New York: St. Martin’s Press, Inc., 1961.

Arnold, Denis, ed. The Beethoven Reader. New York: W. W. Norton, 1971.

Barth, George. The Pianist as Orator: Beethoven and the Transformation of Keyboard Style. Ithaca, N.Y.: Cornell University Press, c. 1992.

Beethoven, Ludwig van. Letters, Journals, and Conversations. Edited, translated, and introduced by Michael Hamburger. Westport, Conn.: Greenwood Press, 1978.

Blom, Eric. Beethoven’s Pianoforte Sonatas Discussed. New York: Da Capo Press, 1968. (Reissue of the original 1938 edition.

Cooper, Barry. Beethoven and the Creative Process. Oxford: Clarendon Press; New York: Oxford University Press, 1990.

Cooper, Martin. Beethoven, The Last Decade, 1817-1827. London: Oxford University Press, 1970.

Dalhaus, Carl. Ludwig van Beethoven: Approaches to his Music. Oxford: Clarendon Press, 1991.

Dennis, David B. Beethoven in German Politics, 1870-1989. New Haven: Yale University Press, c. 1996.

DeNora, Tia. Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803. Berkeley: University of California Press, 1995.

Drake, Kenneth. The Sonatas of Beethoven as he played and taught them. Cincinnati: MTNA, 1972.

Fischer, Hans Conrad and Erich Kock. Ludwig van Beethoven: A Study in Text and Pictures. London: MacMillan, 1972.

Forte, Allen. The Compositional Matrix. Baldwin, N.Y.: Music Teachers National Association,

c. 1961.

Greene, David. Temporal Processes in Beethoven’s Music. New York: Gordon and Breach, c. 1982.

Hopkins, Antony. The Nine Symphonies of Beethoven. London: Heinemann, 1981.

. The Seven Concertos of Beethoven. Aldershot, England: Scolar Press, c. 1996.

Kinderman, William. Beethoven’s Diabelli Variations. Oxford: Clarendon Press, 1987.

Johnson, Douglas. The Beethoven Sketchbooks: History, Reconstruction, Inventory. Berkeley: University of California Press, 1985.

Jones, Timothy. Beethoven, The Moonlight and Other Sonatas, Op. 27 and Op. 31. Cambridge, UK: Cambridge University Press, 1999.

Kerman, Joseph. The Beethoven Quartets. New York: A. A. Knopf, 1967.

Kolodin, Irving. The Interior Beethoven: a Biography of the Music. New York: A. A. Knopf, 1975.

Landon, H. C. Robbins. Beethoven: His Life, Work, and World. Compiled and edited by H. C. Robbins Landon. New York: Thames and Hudson, 1993.

Levy, David Benjamin. Beethoven, the Ninth Symphony. New York: Schirmer Books, c. 1995.

Levy, Janet M. Beethoven’s Compositional Choices. Philadelphia: University of Pennsylvania Press, 1982.

Lockwood, Lewis. Beethoven: Studies in the Creative Process. Cambridge, Mass.: Harvard University Press, 1992.

Mellers, Wilfrid Howard. Beethoven and the Voice of God. New York: Oxford University Press, 1983.

Mies, Paul. Beethoven’s Sketches: an Analysis of His Style Based on a Study of His Sketch-Books. New York: Dover Publications, 1974.

Nettl, Paul. Beethoven Handbook. New York: Ungar Publishing Co., 1967.

Newman, William S. Beethoven on Beethoven: Playing His Piano Music His Way. New York: Norton, c. 1988.

Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. Expanded edition. New York: W. W. Norton, c. 1997.

Scherman, Thomas. The Beethoven Companion. Garden City, NY: Doubleday, 1972.

Sipe, Thomas. Beethoven: Eroica Symphony. Cambridge, UK: Cambridge University Press, 1998.

Solomon, Maynard. Beethoven. New York: Schirmer Books, c. 1977.

. Beethoven Essays. Cambridge, Mass.: Harvard University Press, 1988.

Sonneck, O. G., ed. Beethoven: Impressions by His Contemporaries. New York: Dover Publications, 1967.

Thayer, Alexander Wheelock. Thayer’s Life of Beethoven. Revised and edited by Elliot Forbes. Princeton, N.J.: Princeton University Press, 1967.