貝多芬:理論、表演、與接受史
Contextualizing Beethoven: Theory, Performance, and Reception History
| 節 | 週四 |
|---|---|
6 14:20–15:10 | 貝多芬:理論、表演、與接受史 HC514（光復） 3 節連堂 |
7 15:30–16:20 | |
8 16:30–17:20 |
* 根據陽明交大上課時間表所列
This 3-credit seminar explores Beethoven from the perspective of historical and theoretical analyses, performance practice, interpretation and reception of his works as well as the image of Beethoven European culture. With a primary focus on Beethoven, we will also use the discussion of him and his works as a staring point to explore the cultural climate in Europe between late 18th- and early 20th centuries.
Music proficiency (the ability to read a music score) ais required.
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This course is divided into four parts. Part I introduces the trends in the intellectual, philosophical, and literary circles in the last phase of the Enlightenment, in which Beethoven as a young composer and concert pianist benefited from and responded to the aristocratic patronage and audience and created his voice in that context. Part II concerns with Beethoven’s development as a rising star and bourgeoisie in a period, in which the mode of artistic creation and patronage system was changing. We will study examples in Beethoven works commissioned by aristocratic patrons, as well works that he created and promoted for performance and publication by himself. We will also look into music pedagogies of Beethoven’s time and mid-late 19th century, which may provide a clue as to whether there was a consensus of how to play Beethoven’s work “correctly.” Part III deals with the development of the opera in the first 20-30 years of the 19th century, which overlapped with Beethoven’s third period. We will discuss works by Rossini, who, as contemporary of Beethoven, represents a different logic and mode of creation. We will also look into Beethoven’s vocal music hand in hand with Italian opera industry. Pat IV focuses on Beethoven reception, including prose writings in music criticism in Beethoven’s time and the interpretation of Beethoven in visual arts, especially the 1902 Viennese Secession, in which Beethoven was the theme of that year’s exhibition.
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| 週次 | 主題 |
|---|---|
| 第 1 週 | Introduction: Which Beethoven? 2025-09-04(四) 時數：[2025-09-04]李奉書(3.00) |
| 第 2 週 | Beethoven then and now: reception 2025-09-11(四) 時數：[2025-09-11]李奉書(3.00) |
| 第 3 週 | Influence: Beethoven and his teachers 2025-09-18(四) 時數：[2025-09-18]李奉書(3.00) |
| 第 4 週 | Beethoven as transitional figure in music history (?) 2025-09-25(四) 時數：[2025-09-25]李奉書(3.00) |
| 第 5 週 | Beethoven as businessman 2025-10-02(四) 時數：[2025-10-02]李奉書(3.00) |
| 第 6 週 | Beethoven and his contemporaries: Rossini 2025-10-09(四) 時數：[2025-10-09]李奉書(3.00) |
| 第 7 週 | Beethoven and his contemporaries: Schubert 2025-10-16(四) 時數：[2025-10-16]李奉書(3.00) |
| 第 8 週 | Beethoven and the French Revolution 2025-10-23(四) 時數：[2025-10-23]李奉書(3.00) |
| 第 9 週 | Beethoven’s creative process: sketchbooks 2025-10-30(四) 時數：[2025-10-30]李奉書(3.00) |
| 第 10 週 | Beethoven and vocal music—Fidelio 2025-11-06(四) 時數：[2025-11-06]李奉書(3.00) |
| 第 11 週 | Beethoven and vocal music—Missa solemnis 2025-11-13(四) 時數：[2025-11-13]李奉書(3.00) |
| 第 12 週 | Piano Sonata op. 106 & op. 109 2025-11-20(四) 時數：[2025-11-20]李奉書(3.00) |
| 第 13 週 | String Quartet op. 131 & the Grosse Fugue 2025-11-27(四) 時數：[2025-11-27]李奉書(3.00) |
| 第 14 週 | Violin Sonata op. 47 (“Kreutzer”) 2025-12-04(四) 時數：[2025-12-04]李奉書(3.00) |
| 第 15 週 | Symphony no. 9 2025-12-11(四) 時數：[2025-12-11]李奉書(3.00) |
| 第 16 週 | presentation of term projects 2025-12-18(四) 時數：[2025-12-18]李奉書(3.00) |
| 第 17 週 | presentation of term projects 2025-12-25(四) 時數：[2025-12-25]李奉書(3.00) |
| 第 18 週 | Legacy—Beethoven and his students 2026-01-01(四) 時數：[2026-01-01]李奉書(3.00) |
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- 地點
- HC511
- 時間
- Wednesday, 3:30-5:30 pm or by appointment
- 聯絡方式
- blblume@nctu.edu.tw; ext. 58316