8 - Beethoven in E.M. Forster's *A room with a view* (1908) COLLAPSE

8 - Beethoven in E.M. Forster's *A room with a view* (1908) COLLAPSE What role does Beethoven's op. 111 piano sonata play in this novel? What does Forster gain by choosing op. 111, rather than the "Pathétique," the "Waldstein," or the "Hammerklavier," or any other sonata by Beethoven option c) 18 - Sonic spaces COLLAPSE Prof. Lockwood highlights the importance of "tonal shading, subtlety of dynamics, and beauty of sonority" in Beethoven's piano music (p. 381). That is, works such as the "Hammerklavier" sonata require not simply raw pianistic athleticism (speed for rapid passages, brawn to bash out loud passages), but also (and more importantly) widely variegated timbres (i.e., not just one "piano sound"), fine variation among different degrees of loud and soft, and rich combinations of tones that lure us with their sheer lushness of sound, irrespective of what's happening in the melody or harmony. Much popular music today notoriously eschews these resources (see, for example: http://musicmachinery.com/2009/03/23/the-loudness-war/ ). Can you identify (and substantiate) a notable exception? (I'm sure there are many, but in light of the 250-word length limit, you should talk about only one.) 18 - The fugue is dead; long live the fugue COLLAPSE Bach's and Beethoven's fugues represent two particular approaches in the history of imitative counterpoint, in which a melodic idea is echoed among various musical "voices" (perhaps even literal human voices). I've already shared some prior examples (e.g., vocal counterpoint from the Renaissance and early Baroque eras). Can you identify a more recent example, of any time from Beethoven's death to the present day, and explain how it differs from Bach's and/or Beethoven's examples?