Here is the synopsis of our sample research paper on
Beethoven the Revolutionary
. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
This 8 page paper discusses the reasons why historians and musicologists have both consistently labeled Beethoven as a revolutionary. Bibliography lists 2 sources.
Page Count:
8 pages (~225 words per page)
File: D0_HVBeeRev.rtf
Buy This Term Paper »
Unformatted sample text from the term paper:
Beethoven the Man Beethoven, according to his contemporaries, was a difficult man. Goethe described him by saying "A more self-contained, energetic sincere artist I never saw" and then added,
"His talent amazed me; unfortunately he is an utterly untamed personality, not altogether wrong in holding the world to be detestable, but who does not make it any more enjoyable
either for himself or others by his attitude" (Johnson, 2005). Johnson suggests, however, that we should remember Goethe is talking about a man who had suffered greatly during his lifetime;
Beethovens father, though he was an "accomplished musician" with a "responsible position at the Court in the city of Bonn," was also a bully, unstable and a drunkard (Johnson). He
would drag the young Beethoven out of bed in the middle of the night to play the violin for his drunken friends (Johnson, 2005). He beat his son and
locked him in the cellar "for the slightest offenses" and "One childhood acquaintance remembered seeing him standing, weeping, on a footstool in front of the piano, while his father yelled
at him" (Johnson, 2005). Despite a history which would probably have put most people off music for life, Beethoven continued to play and compose. He was so good that
Christian Gottlob Neefe, the Bonn court organized, mentored him, "encouraging both his playing and his composing" (Johnson, 2005). Other children found him strange: "ill-groomed, often surly or lost in
thought, and given to taking long solitary walks" (Johnson, 2005). But at the same time, his idealism was beginning to emerge (Johnson, 2005). When he was 16, he played
for Mozart, who at first dismissed his work as being "very pretty, but studied" (Johnson, 2005). But when the young man began to improvise, "the older composer began to
...