Here is the synopsis of our sample research paper on Beethoven/String Quartet in C Minor, Opus 18 No. 4. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
A 6 page research paper that examines Beethoven's String Quartet in C minor, opus 18 no. 4. The writer focuses on the overall structure and key scheme of the quartet, while also looking at principal themes, phrase structure and instrumental textures. Bibliography lists 2 sources.
Page Count:
6 pages (~225 words per page)
File: D0_khop18n4.rtf
Buy This Term Paper »
Unformatted sample text from the term paper:
considered to be the "Beethoven key" (Steinberg, 1994, p. 163). The String Quartet in C Minor, op. 18 no. 4 is one of Beethovens earliest C minor works. In
this quartet, Beethoven uses material that he brought to Vienna from Bonn in 1792 (Steinberg, 1994). The following examination of Op. 18 No. 4 focuses on the overall structure and
key scheme of the quartet, while also looking at principal themes, phrase structure and instrumental textures. Opus 18 no. 4 is considered to be the least typical of Beethovens
C minor works , the "least stern, the least ferocious" (Steinberg, 1994, p. 164). Lam (1975) indicates that this work shows a certain uneasiness in the handling of the quartet
medium that is perhaps due to the absence of the piano. It is generally through the piano, which provides a wide dynamic range that Beethoven achieved the ready production of
the "explosive accents" that were "characteristic of Beethoven in C minor" (Lam, 1975, p. 24). Opus 18 No. 4 is made up of four movements, which Beethoven labeled in the
following manner: Allegro ma non tanto; Scherzo; Andante scherzo quasi allegretto; Menuetto: Allegretto and Allegro-Prestissimo. Nevertheless, The first movement is full of passion and urgency. The opening melody moves
forward; however, Beethoven also "applies a double set of brakes" by keeping the tempo firmly in check (Steinberg, 1994, p. 164). It is as if he is saying that while
the movement is Allegro, it must not be too allegro. For the first six measures, the cello ignores the upper registers and remains firmly glued to the keynote of C.
The effect is grandly sonorous. The second violin then introduces a more lyric theme in a new key, the relative major of E flat. The development starts by reprising the
...