Contrapuntal devices in the piano works of Beethoven.
We have dealt in some detail with the counterpoint mechanisms and styles, or in other words, internals and externals as used in Beethoven's piano music. We have even looked now and then into his music other than that for the piano. We discovered in our research that his counterpoint changed with his periods; that is, the three generally recognized composing periods. But ,this last discovery outweighs in importance the study of the counterpoint itself. The reason is obvious. Counterpoint as is the case with any form of utterance, literary or musical is primarily an expression of the individual himself. Otherwise, the counterpoint would be no more than "sounding brass, or a tinkling cymbal". Thus while we have been studying Beethoven's counterpoint, we have been more concerned with the man himself, although this may not be apparent to the reader since it has not been stated previously in so many words. But, any study, however technical, of an artist's productions will, in the larger sense, be a study of the artist. [TRUNCATED]
Thesis (M.A.)--Boston University