A hypermetric analysis of the expositions from the Op. 22, Op. 53, and Op. 106 piano sonatas by Ludwig van Beethoven

The core of this thesis provides hypermetric analyses of the expositions from the Opp. 22, 53 and 106 piano sonatas by Beethoven. Some may consider such a project impractical since the existence of a multileveled hypermeter can hardly be taken for granted. But Beethoven's compositions are firmly rooted in classical phrase structure, and large portions of his works are often based on a particular phrase or thematic unit, the length of which can initiate a multileveled hypermeter. Even when the length of these units becomes irregular, it is often possible to perceive these variations as expansions or compressions which transform a previously established hypermeter (this will be explained in Chapter 1). This thesis is influenced by the theoretical work of Heinrich Schenker; and by the work of two Schenkerian theorists, Carl Schachter and William Rothstein. Rothstein's Phrase Rhythm in Tonal Music in particular has provided a starting point for the forthcoming analyses. However, his book does not analyze any complete sonata expositions; thus, one of motivations of the thesis is to apply and extend Rothsteins's concepts within an extended musical contextMusi