| Formatted contents note |
Part PART I HISTORY AND HISTORIOGRAPHY<br/>chapter 1 Carl Dahlhaus (1991), 'The Biographical Method', in Ludwig van Beethoven: Approaches to his Music, trans. Mary Whittall, Oxford: Clarendon Press, ppages 1{u2013}10<br/>chapter 2 Scott Burnham (1995), 'Beethoven's Hero', in Beethoven Hero, Princeton: Princeton University Press, ppages 3{u2013}28<br/>chapter 3K.M. Knittel (2006), '<br/>chapter 4 Lewis Lockwood (1994), 'Beethoven before 1800: The Mozart Legacy', Beethoven Forum, 3, ppages 39{u2013}52<br/>chapter 5 Alexander L. Ringer (1970), 'Beethoven and the London Pianoforte School', Musical Quarterly, 56, ppages 742{u2013}58<br/>chapter 6 Warren Kirkendale (1971), 'New Roads to Old Ideas in Beethoven's Missa Solemnis', in Paul Henry Lang (ed.), The Creative World of Beethoven, New York: Norton, ppages 163{u2013}99<br/>part PART II DOCUMENTS AND SKETCHES<br/>chapter 7 Maynard Solomon (1998), 'Beethoven's Birth Year', in Beethoven Essays, Cambridge, MA: Harvard University Press, ppages 35{u2013}42<br/>chapter 8 Hans-Werner Kuthen (2001), 'Das<br/>chapter 9 Maynard Solomon (1972), 'New Light on Beethoven's Letter to an Unknown Woman', Musical Quarterly, 58, ppages 572{u2013}87<br/>chapter 10 Alan Tyson (1970), 'Conversations with Beethoven', Musical Times, 111, ppages 25{u2013}28<br/>chapter 11 William Drabkin (1991), 'Beethoven's Understanding of<br/>chapter 12 Philip Gossett (1974), 'Beethoven's Sixth Symphony: Sketches for the First Movement', Journal of the American Musicological Society, 27, ppages 248{u2013}84<br/>chapter 13 Robert Winter (1977), 'Plans for the Structure of the String Quartet in C Sharp Minor Opages 131', in Alan Tyson (ed.), Beethoven Studies 2, Oxford: Oxford University Press, ppages 106{u2013}37<br/>part PART III ANALYSIS<br/>chapter 14 Joseph Kerman (1994), 'Tovey's Beethoven', in Write all these Down: Essays on Music, Berkeley: University of California Press, ppages 155{u2013}72<br/>chapter 15 Robert S. Hatten (1994), 'A Case Study for Interpretation: The Third Movement of Opages 106 (Hammerklavier)', in Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation, Bloomington: Indiana University Press, ppages 9{u2013}28<br/>chapter 16 Janet Schmalfeldt (1995), 'Form as the Process of Becoming: The Beethoven-Hegelian Tradition and the<br/>chapter 17 Michael Spitzer (1996), 'The Significance of Recapitulation in Beethoven's<br/>chapter 18 Edward T. Cone (1989), 'Beethoven's Experiments in Composition: The Late Bagatelles', in Robert Morgan (ed.), Music: A View from Delft. Selected Essays, Chicago: University of Chicago Press, ppages 179{u2013}200<br/>part PART IV AESTHETICS AND HERMENEUTICS<br/>chapter 19 Rose Rosengard Subotnik (1976), 'Adorno's Diagnosis of Beethoven's Late Style: Early Symptom of a Fatal Condition', Journal of the American Musicological Society, 29, ppages 242{u2013}75<br/>chapter 20 Rey M. Longyear (1970), 'Beethoven and Romantic Irony', Musical Quarterly, 56, ppages 647{u2013}64<br/>chapter 21 Owen Jander (1985), 'Beethoven's<br/>chapter 22 Sanna Pederson (2000), 'Beethoven and Masculinity', in Scott Burnham and Michael P. Steinberg (eds), Beethoven and his World, Princeton: Princeton University Press, ppages 313{u2013}31<br/>chapter 23 Richard Taruskin (1989), 'Resisting the Ninth', 19th-century Music, 12, ppages 241{u2013}56<br/>chapter 24 Holly Rogers (2006), 'Beethoven's Myth Sympathy: Hollywood's Re-Construction', British Postgraduate Musicology, 8, at http://britishpost-graduatemusicology.org/bpm8/Rogers.html |