{"title":"贝多芬的案例:领带的另一个名字……","authors":"Malcom Bilson","doi":"10.1080/01411896.2020.1771185","DOIUrl":null,"url":null,"abstract":"ABSTRACT In several late works of Beethoven, we find a curious tie over the barline, in string and especially in piano works, where we find the numbers 4,3 over the tie, seemingly indicating fingering. Since the late nineteenth century scholars and performers have been discussing whether or not the second note should be struck or bowed again. Interpreting this curious tie goes not only to the problem of execution, but to the deeper musical question of Affekt.","PeriodicalId":42616,"journal":{"name":"JOURNAL OF MUSICOLOGICAL RESEARCH","volume":"42 1","pages":"88 - 98"},"PeriodicalIF":0.4000,"publicationDate":"2020-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Case of Beethoven: A Tie by Any Other Name...\",\"authors\":\"Malcom Bilson\",\"doi\":\"10.1080/01411896.2020.1771185\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT In several late works of Beethoven, we find a curious tie over the barline, in string and especially in piano works, where we find the numbers 4,3 over the tie, seemingly indicating fingering. Since the late nineteenth century scholars and performers have been discussing whether or not the second note should be struck or bowed again. Interpreting this curious tie goes not only to the problem of execution, but to the deeper musical question of Affekt.\",\"PeriodicalId\":42616,\"journal\":{\"name\":\"JOURNAL OF MUSICOLOGICAL RESEARCH\",\"volume\":\"42 1\",\"pages\":\"88 - 98\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2020-06-29\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"JOURNAL OF MUSICOLOGICAL RESEARCH\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/01411896.2020.1771185\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF MUSICOLOGICAL RESEARCH","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/01411896.2020.1771185","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
ABSTRACT In several late works of Beethoven, we find a curious tie over the barline, in string and especially in piano works, where we find the numbers 4,3 over the tie, seemingly indicating fingering. Since the late nineteenth century scholars and performers have been discussing whether or not the second note should be struck or bowed again. Interpreting this curious tie goes not only to the problem of execution, but to the deeper musical question of Affekt.
期刊介绍：
The Journal of Musicological Research publishes original articles on all aspects of the discipline of music: historical musicology, style and repertory studies, music theory, ethnomusicology, music education, organology, and interdisciplinary studies. Because contemporary music scholarship addresses critical and analytical issues from a multiplicity of viewpoints, the Journal of Musicological Research seeks to present studies from all perspectives, using the full spectrum of methodologies. This variety makes the Journal a place where scholarly approaches can coexist, in all their harmony and occasional discord, and one that is not allied with any particular school or viewpoint.
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