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Beethoven's Dolce : interpretation, performance, and description - The case of music
Publication . Eckerson, Sara Ellen; Tamen, Miguel Bénard da Costa
This dissertation aims to describe the role of Beethoven’s dolce indications in the
staves of a musical score. We will thus explore Beethoven’s dolce in contexts of
theoretical interpretation, performance, and critical descriptions of meaning in music.
We first will examine performance practice and Beethoven’s dolce indications in a
symphonic setting (Symphony No. 3 in E-flat Major, Op. 55, “Eroica”) and in piano
sonatas. We will highlight historical and current performance practice to find grounds
for the unique way Beethoven uses expressive indications (for example, dolce,
cantabile, and espressivo) in the staff. The second part of this dissertation will
investigate nineteenth century hermeneutics and Friedrich Daniel Ernst
Schleiermacher’s hermeneutic theory to show the resonances between the critical
activity of interpreting texts and the activity of interpreting and performing music. In
the final part of this dissertation, we will discuss a critical method developed by the
theorist, pedagogue, and music historian Adolf Bernhard Marx (1795-1866). Marx
determines this critical method in the context of how to explicate meaning in
instrumental music, which is namely through simile, symbolism, and psychological
coherence. We will conclude this dissertation by describing the importance of
material considerations in A. B. Marx’s theory of a musical Idee. Furthermore, we
will comment on the role of the Idee as a bridge between the material considerations
required for performance practice and the “spiritual” activity that is needed to explore
deeper meaning in music.
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Fundação para a Ciência e a Tecnologia
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SFRH
Número da atribuição
SFRH/BD/68965/2010