The inclusion of the scherzo movement in multi-movement compositions such as symphonies, sonatas, and chamber music can be almost exclusively attributed to one composer: Ludwig van Beethoven. After assimilating the existing scherzo form as it appeared in the music of Joseph Haydn (still labeled minuet except for the String Quartets. Opus 33) . Beethoven set out in his inimitable fashion to explore its possibilities. Beginning by adherence to the classic structure of the minuet, adding only a few of his distinctive effects, he proceeded through experimentation to expand, shape, vary, and define the scherzo form for all composers who followed.
","abstract_html":"<p>The inclusion of the scherzo movement in multi-movement compositions such as symphonies, sonatas, and chamber music can be almost exclusively attributed to one composer: Ludwig van Beethoven. After assimilating the existing scherzo form as it appeared in the music of Joseph Haydn (still labeled minuet except for the String Quartets. Opus 33) . Beethoven set out in his inimitable fashion to explore its possibilities. Beginning by adherence to the classic structure of the minuet, adding only a few of his distinctive effects, he proceeded through experimentation to expand, shape, vary, and define the scherzo form for all composers who followed.</p>","abstract_has_math":false,"creators":["Ruby, Sylvia L."],"institution":null,"degree_name":"Master of Arts","degree_level":"Master's Thesis","degree_discipline":"Humanities","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":1974,"date_issued":"1974-01-01T08:00:00Z","date_published":"1974-01-01T08:00:00Z","updated_at":"2026-07-24T02:05:59Z","subjects":["Humanities","Arts and Humanities"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://scholar.dominican.edu/humanities-print-theses/163","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Ruby, Sylvia L."]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"thesis:degree_discipline","label":"Discipline","values":["Humanities"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Master's Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Humanities","Arts and Humanities"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholar.dominican.edu/humanities-print-theses/163"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["The inclusion of the scherzo movement in multi-movement compositions such as symphonies, sonatas, and chamber music can be almost exclusively attributed to one composer: Ludwig van Beethoven. After assimilating the existing scherzo form as it appeared in the music of Joseph Haydn (still labeled minuet except for the String Quartets. Opus 33) . Beethoven set out in his inimitable fashion to explore its possibilities. Beginning by adherence to the classic structure of the minuet, adding only a few of his distinctive effects, he proceeded through experimentation to expand, shape, vary, and define the scherzo form for all composers who followed.
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