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Haydn's Opus 20 string quartets and ...

Owen, Patrick McCabe.

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Haydn's Opus 20 string quartets and the development of his early style.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Haydn's Opus 20 string quartets and the development of his early style./
Author:	Owen, Patrick McCabe.
Description:	110 p.
Notes:	Adviser: Jeremy Yudkin.
Contained By:	Dissertation Abstracts International68-04A.
Subject:	Biography. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3259869

Haydn's Opus 20 string quartets and the development of his early style.
Owen, Patrick McCabe.

Haydn's Opus 20 string quartets and the development of his early style. - 110 p.

Adviser: Jeremy Yudkin.

Thesis (D.M.A.)--Boston University, 2007.

Chapter Four identifies experimental procedures in the slow movements of Op. 20. Particular attention is paid to Op. 20 No. 2, to its "capriccio" title, and its relation to other slow movements from Op. 20 and Op. 17 of the previous year.Subjects--Topical Terms:

531296
Biography.

Haydn's Opus 20 string quartets and the development of his early style.
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035 $a (UMI)AAI3259869
035 $a AAI3259869
040 $a UMI $c UMI
100 1 $a Owen, Patrick McCabe. $3 1271541
245 1 0 $a Haydn's Opus 20 string quartets and the development of his early style.
300 $a 110 p.
500 $a Adviser: Jeremy Yudkin.
500 $a Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1220.
502 $a Thesis (D.M.A.)--Boston University, 2007.
520 $a Chapter Four identifies experimental procedures in the slow movements of Op. 20. Particular attention is paid to Op. 20 No. 2, to its "capriccio" title, and its relation to other slow movements from Op. 20 and Op. 17 of the previous year.
520 $a Chapter Three deals with sonata-form movements in particular. Formal issues such as thematic relationships, extended development and false recapitulation are discussed.
520 $a Chapter Two gives an overall view of each quartet. Each movement of all six quartets is analyzed, and charts are provided for the form of each movement. Elements of form, texture, harmony and the integration of the four instruments are discussed.
520 $a The dissertation ends with a chapter of conclusions and a select bibliography.
520 $a Chapter One establishes the environment Haydn lived in during the years surrounding the composition of Op. 20. It deals with his relationship to Prince Nikolas Eszterhazy as well as other musicians in the court and gives historical background on early publication of the Op. 20 quartets.
520 $a Chapter Five devotes itself to the minuets of Op. 20 and the development away from the aristocratic minuet to a more mordant scherzo style through the use of sforzandi, as well as dynamic and formal strategies. Also considered is the placement of the Minuet movement in the quartet and its effect on the perceived weight of the outer movements.
520 $a Chapter Six establishes the context of contrapuntal writing in the late 1760s in central Europe. The fugal finales of Op. 20 are discussed in terms of Haydn's Sturm und Drang style and considered as a natural resource of that style. A detailed exemplary graph of the F-Minor fugue is provided outlining each entry and providing commentary on the fugue's particular properties.
590 $a School code: 0017.
650 4 $a Biography. $3 531296
650 4 $a Music. $3 516178
690 $a 0304
690 $a 0413
710 2 $a Boston University. $3 1017454
773 0 $t Dissertation Abstracts International $g 68-04A.
790 $a 0017
790 1 0 $a Yudkin, Jeremy, $e advisor
791 $a D.M.A.
792 $a 2007
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3259869