Regras existem para serem quebradas, ou o Menuetto da Op. 2, Nº 1, de Beethoven

Autores

  • L. Poundie Burstein CUNY

DOI:

https://doi.org/10.5965/2525530406032021012

Palavras-chave:

Beethoven, motive, Schenkerian Analysis, Tonwille

Resumo

Um gesto marcante aparece no clímax da primeira frase do Menuetto da Sonata para Piano em Fá menor, Op. 2, No.1 de Ludwig van Beethoven. Este gesto motívico, que pode ser entendido como derivado da manipulação de procedimentos contrapontísticos padrão, tem ramificações inusitadas que afetam
profundamente a estrutura e a narrativa de todo o movimento. Estas características são exploradas com a ajuda de procedimentos analíticos schenkerianos, e a análise é então comparada a uma interpretação deste
mesmo movimento por Heinrich Schenker.

Biografia do Autor

L. Poundie Burstein, CUNY

L. Poundie Burstein is Professor of Music Theory at Hunter College and the Graduate Center of the City University of New York. His primary areas of interest include Schenkerian analysis, analysis of eighteenth century music, music theory pedagogy, and form studies. He has also taught at Mannes College, Columbia University, Queens College, and held an endowed chair at University of Alabama in 2010. In 1995 he received the Distinguished Teaching Award from the New School University, and in 2008 he received the Outstanding Publication Award of the Society of Music Theory (SMT). He is a former President of the Society for Music Theory.

Referências

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SAMAROTTO, F. Sublimating Sharp : An Exercise in Schenkerian Energetics. Music Theory Online, v.10, n.3, 2004.

SCHACHTER, C. The Triad as Place and Action. Music Theory Spectrum, v.17, n.3, p.149–169, 1995.

SCHACHTER, C. Structure as Foreground ‘das Drama des Ursatzes,’ in Schenker Studies 2.Cambridge, Cambridge University Press, p. 298–314, 1999.

SCHENKER, H. Der freie Satz. Vienna: Universal Edition, 1935.

SCHENKER, H. Beethoven: Sonate opus 2 Nr. 1. Tonwille 2. Vienna: A. Gutmann Verlag, p.32–33 and Appendix, 1922.

SUURPää, L. Death in Winterreise: Musico-Poetic Associations in Schubert’s Song Cycle. Bloomington Indiana: Indiana University Press, 2014.

TERRIGNO, L. The Protagonist’s Experience: Temporality, Narrative, and Harmonic Process in Brahms’s Solo Lieder. Ph.D. diss., CUNY, 2016.

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Publicado

2021-10-14

Como Citar

BURSTEIN, P. Regras existem para serem quebradas, ou o Menuetto da Op. 2, Nº 1, de Beethoven. Orfeu, Florianópolis, v. 6, n. 3, 2021. DOI: 10.5965/2525530406032021012. Disponível em: https://periodicos.udesc.br/index.php/orfeu/article/view/19721. Acesso em: 30 nov. 2021.