Abstract
Abstract There are few aesthetic commonplaces that nobody will dispute, but they must surely include the maxim that musical form is not so much architectural as linear. The statement needs qualification, however, if it is to serve the purposes of analysis or historical commentary. This chapter will investigate the proposition that, in works written in and after 1802, Beethoven expressed the processual character of form in a way that justified his speaking of a ‘new path’ or a ‘wholly new style’; but the thesis remains vague and impalpable for as long as the ideas that commingle in the concept of ‘musical process’ are not examined.
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