{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/19973"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/19973","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"\"To the \"\"new manner\"\" born: A study of Beethoven's early variations\"","abstract":"ETDs are only available to UIUC Users without author permission","abstract_html":"ETDs are only available to UIUC Users without author permission","abstract_has_math":false,"creators":["Whiting, Steven Moore"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Ringer, Alexander L."],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-05-07T12:24:41Z","date_published":"2011-05-07T12:24:41Z","updated_at":"2026-07-22T22:25:15Z","subjects":["Music"],"languages":["eng"],"rights":["Copyright 1991 Whiting, Steven Moore"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9136764","(UMI)AAI9136764"],"render_values":[{"text":"AAI9136764","href":null,"code":true},{"text":"(UMI)AAI9136764","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/19973","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Ringer, Alexander L."]},{"key":"dc:creator","label":"Author","values":["Whiting, Steven Moore"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2011-05-07T12:24:41Z","10000-01-01","1991"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 1991 Whiting, Steven Moore"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9136764","(UMI)AAI9136764","http://hdl.handle.net/2142/19973"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["ETDs are only available to UIUC Users without author permission","U of I Only","\"In 1802 Beethoven announced to his publisher that he had adopted a \"\"completely new manner\"\" in his two latest sets of piano variations, in token of which he was numbering them among his \"\"greater\"\" musical opera. Given the aesthetic disrepute into which variations had fallen during the latter eighteenth century, Beethoven's declaration is striking, all the more so because he had taken a novel approach to this fashionable genre nearly from the start.\"","\"The present study is addressed to the twenty-nine variation sets and movements Beethoven composed by 1800, from the Dressler Variations of 1782 to the Sussmayr Variations of 1799. It argues that he subjected the genre to formal principles rooted in development before leaving Bonn (e.g., WoO 65, WoO 67), that he invested some variations (e.g., WoO 28, WoO 72, WoO 73) with specific dramatic contents by implicit reference to the operas from which the themes were drawn, and that he even shaped certain variation works, mutatis mutandis, along lines analogous to sonata form. The dual thematic configuration that marks Op. 35 was present as early as 1790 (WoO 65). The relation in Op. 34 of successive variations by mediant keys and the closing complex of Adagio and fugue in Op. 35 were clearly prefigured in 1799 (WoO 76). Beethoven was, so to speak, to the \"\"new manner\"\" born.\"","Made available in DSpace on 2011-05-07T12:24:41Z (GMT). No. of bitstreams: 2 license.txt: 4922 bytes, checksum: 910b249b4beec47e7ab768910c8f966f (MD5) 9136764.pdf: 20016367 bytes, checksum: 597a646dfa29d8ec08bcb9e4d1bcf61b (MD5) Previous issue date: 1991","Item marked as restricted to the 'UIUC Users [automated]' Group (id=2) by Howard Ding (hding2@illinois.edu) on 2011-05-07T14:40:41Z Item is restricted indefinitely.","Restriction data tranferred 2014-07-01T11:17:28-05:00 Original Data Group with Access UIUC Users [automated] Release Date: none Reason: ETDs are only available to UIUC Users without author permission"]},{"key":"dc:title","label":"Title","values":["\"To the \"\"new manner\"\" born: A study of Beethoven's early variations\""]}]}],"canonical_facts":{"dc:contributor":["Ringer, Alexander L."],"dc:creator":["Whiting, Steven Moore"],"dc:date":["2011-05-07T12:24:41Z","10000-01-01","1991"],"dc:description":["ETDs are only available to UIUC Users without author permission","U of I Only","\"In 1802 Beethoven announced to his publisher that he had adopted a \"\"completely new manner\"\" in his two latest sets of piano variations, in token of which he was numbering them among his \"\"greater\"\" musical opera. Given the aesthetic disrepute into which variations had fallen during the latter eighteenth century, Beethoven's declaration is striking, all the more so because he had taken a novel approach to this fashionable genre nearly from the start.\"","\"The present study is addressed to the twenty-nine variation sets and movements Beethoven composed by 1800, from the Dressler Variations of 1782 to the Sussmayr Variations of 1799. It argues that he subjected the genre to formal principles rooted in development before leaving Bonn (e.g., WoO 65, WoO 67), that he invested some variations (e.g., WoO 28, WoO 72, WoO 73) with specific dramatic contents by implicit reference to the operas from which the themes were drawn, and that he even shaped certain variation works, mutatis mutandis, along lines analogous to sonata form. The dual thematic configuration that marks Op. 35 was present as early as 1790 (WoO 65). The relation in Op. 34 of successive variations by mediant keys and the closing complex of Adagio and fugue in Op. 35 were clearly prefigured in 1799 (WoO 76). Beethoven was, so to speak, to the \"\"new manner\"\" born.\"","Made available in DSpace on 2011-05-07T12:24:41Z (GMT). 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