The author investigates the connection between tonality and meaning in Beethoven's music and the key symbolism in specific pieces. He discusses the evidence that Beethoven understood and used key characteristics, including his personal views and his familiarity of the views of others, including Johann Mattheson, Johann Philipp Kirnberger, Johann George Sulzer, Christian Friedrich Daniel Schubart, Anton Reicha, and Carl Czerny; keys commonly and less frequently used by Beethoven and their affective characteristics, with lists of examples by Beethoven and other composers; the tonal symbolism in his solo songs, as well as modulations in them; and case studies of his concert aria “Ah! Perfido,” oratorio Christus am Ölberge, Mass in C Major, Elegischer Gesang, the finale of Symphony No. 9 in D Minor, and the Tempest Sonata. Annotation ©2015 Ringgold, Inc., Portland, OR (protoview.com)