Form, Topics, and Harmonic Schemata in Beethoven’s String Quartet Op. 18 No. 4/I, in C Minor
DOI:
https://doi.org/10.52930/mt.v2i1.36Resumo
Bridging the gap between different cultural contexts such as the one between a modern listener and an 18th-century listener has been a constant interest of contemporary musicologists and theorists— especially those dedicated to the study of galant schemata, topic theory, and formal functions. Although these theories are usually used separately when analysing a musical discourse, recent studies have been leaning on the benefits of entwining them in order to build a richer understanding of a piece of music. Therefore, the aim of this paper is to present an analysis of the first movement of Beethoven’s String Quartet in C Minor, Op. 18 No. 4 where all of the aforementioned analytical techniques are used to better expose different levels of interpretation that emerge from overlapping topic theory, formal functions, and galant schemata analyses.
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