The Tempo Transition Between Introduction And Exposition Of First Movement Of Beethoven Symphony No.1

From a view of a conductor, this thesis is directed to study the possibility and rationality of various approaches of tempo transition between introduction and exposition in the first movement of Beethoven Symphony No.1.In the first chapter, the theme is unfolded by illustrating introduction innovation and its significance and value is put forward later:whether it exists right or wrong in second-creation process through a specific instance. If it does, how to evaluate those diversified innovative works with proper measurements. Finally, research methods are proposed:l.to seek criteria to identify each approach rationality2.to classify these approaches3.to compare their rationality levels.In the second chapter, it extends to discover rationality basis in analyzing the first movement. From macrocosm, this basis is just the internal logic of music pieces; more specifically in this thesis, it mainly refers to the following two points:1. the last four32-notes in the12th bar which are the first portion of first tonal area theme2.the tempo difference between introduction and exposition Beethoven wrote in the score.The third chapter moves on the classification of treatment schemes, and the basic measurement is where exposition tempo occurs. Meanwhile, it also elaborates Paul Felix von Weingartner’s approach and its uniqueness.In the fourth chapter, a conclusion could be draw via classifying and comparing different research means:1. it does exist rationality levels among those approaches2. On rationality premises, the outputs diversity is originated from disparately initial focus.To sum up from the above statement:as for the research subject, it exists right or wrong in second-creation process. However, the basis of right and wrong is not a shackle of second creators, but the stage where artists perform their mature and individual spirit.