{"id":1258,"date":"2017-06-28T14:51:36","date_gmt":"2017-06-28T18:51:36","guid":{"rendered":"https:\/\/www.bu.edu\/beethovencenter\/?page_id=1258"},"modified":"2024-04-21T15:15:52","modified_gmt":"2024-04-21T19:15:52","slug":"publications-by-the-center","status":"publish","type":"page","link":"https:\/\/www.bu.edu\/beethovencenter\/publications-by-the-center\/","title":{"rendered":"Publications by the Center"},"content":{"rendered":"

\"\" Jeremy Yudkin,\u00a0 <\/em>KEY DISTRIBUTION IN THE PRINCIPAL WORKS OF BEETHOVEN.\u00a0 Data compiled by Jeremy Yudkin for the appendix of his book From Silence to Sound: Beethoven’s Beginnings <\/i>(Boydell and Brewer, 2020).<\/a><\/p>\n

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Nicholas Kitchen,\u00a0 Manuscript expressive markings edition score and parts for Beethoven String Quartet in Eb Major, Op. 127<\/a>.<\/p>\n

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Robin Wallace,The Critical Reception of Beethoven\u2019s Compositions by His German Contemporaries, Op. 73 to Op. 85.<\/a>
\n<\/em>The Center for Beethoven Research at Boston University,\u00a0<\/em>2018.<\/p>\n

Robin Wallace,\u00a0 The Critical Reception of Beethoven\u2019s Compositions by His German Contemporaries, Op. 86 to Op. 91<\/a>
\n<\/em>The Center for Beethoven Research at Boston University,\u00a0<\/em>2020.<\/p>\n

Robin Wallace, The Critical Reception of Beethoven\u2019s Compositions by His German Contemporaries, Op. 92 to Op. 100.<\/a>
\n<\/em>The Center for Beethoven Research at Boston University,\u00a0<\/em>2020.<\/p>\n

Robin Wallace, The Critical Reception of Beethoven\u2019s Compositions by His German Contemporaries, Op. 101 to Op. 111<\/a>
\nThe Center for Beethoven Research at Boston University,\u00a0<\/em>2020.<\/p>\n

Robin Wallace, The Critical Reception of Beethoven\u2019s Compositions by His German Contemporaries, Op. 112 to Op. 122<\/a>
\nThe Center for Beethoven Research at Boston University,\u00a0<\/em>2020.<\/p>\n

Robin Wallace, The Critical Reception of Beethoven\u2019s Compositions by His German Contemporaries, Op. 123 to Op. 124<\/a>
\nThe Center for Beethoven Research at Boston University,\u00a0<\/em>2020.<\/p>\n

Robin Wallace, The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 125<\/a>.<\/em>
\nThe Center for Beethoven Research at Boston University,\u00a0<\/em>2017.<\/p>\n

Robin Wallace, The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 126 op126 to WoO140<\/a>
\nThe Center for Beethoven Research at Boston University,\u00a0<\/em>2018.<\/p>\n

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\"lewis-Lockwood_BW_cropped\"<\/a>Lewis Lockwood, “Beethoven’s Sketches: The State of Our Knowledge<\/a>.”
\nThe Center for Beethoven Research at Boston University, 2014.<\/p>\n

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\"Nicholas<\/a>Nicholas Kitchen, “Manuscript Markings in Beethoven’s Op. 131,”
\nPaper from the Symposium on Beethoven: String Quartet in C-Sharp Minor, Op. 131<\/em>, April 5, 2017.\u00a0\u00a0Paper<\/a> and annotated score<\/a> of op. 131.<\/p>\n

Response<\/a> by David B. Levy.<\/p>\n

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\"Jens<\/a>Jens Dufner, “Do We Have a Composing Score of Op. 131? The Genesis of the Andante Movement.”
\nPaper from the Symposium on Beethoven: String Quartet in C-Sharp Minor, Op. 131<\/em>, April 5, 2017.
\nSummary<\/a><\/p>\n

\u00a0 Response<\/a> by Lewis Lockwood.<\/p>\n

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\"Barbara_Barry\"<\/a>Barbara Barry, “Invisible cities and imaginary landscapes \u2018quasi una fantasia\u2019: on Beethoven\u2019s op.131″<\/a><\/p>\n

\u00a0\u00a0 Reprinted with kind permission of The Musical Times.<\/i><\/p>\n

Response <\/a> by Alan Gosman.<\/p>\n

Barbara Barry, “Beethoven’s E flat major quartet Op. 127 and the Paradigm of Persuasion<\/a>.”<\/p>\n

Reprinted with kind permission of The Musical Times.<\/i><\/p>\n

\u00a0\u00a0\u00a0\u00a0 Barbara Barry,\u00a0 “Beethoven’s Op. 135 as ‘Haydn’ quartet.”<\/a><\/p>\n

Reprinted with kind permission of The Musical Times.<\/i><\/p>\n

Barbara Barry, “Mind-games: the structure of energy and the character of structure in Beethoven\u2019s \u2018Archduke\u2019 Trio.”<\/a><\/p>\n

Reprinted with kind permission of The Musical Times.<\/i><\/p>\n

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PAPERS from REFRAMING BEETHOVEN: BOSTON 2020<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Jeremy Yudkin,\u00a0 KEY DISTRIBUTION IN THE PRINCIPAL WORKS OF BEETHOVEN.\u00a0 Data compiled by Jeremy Yudkin for the appendix of his book From Silence to Sound: Beethoven’s Beginnings (Boydell and Brewer, 2020).       Nicholas Kitchen,\u00a0 Manuscript expressive markings edition score and parts for Beethoven String Quartet in Eb Major, Op. 127.       […]<\/p>\n","protected":false},"author":13660,"featured_media":0,"parent":0,"menu_order":33,"comment_status":"closed","ping_status":"closed","template":"page-templates\/no-sidebars.php","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/pages\/1258"}],"collection":[{"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/users\/13660"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/comments?post=1258"}],"version-history":[{"count":51,"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/pages\/1258\/revisions"}],"predecessor-version":[{"id":3851,"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/pages\/1258\/revisions\/3851"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/beethovencenter\/wp-json\/wp\/v2\/media?parent=1258"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}