The arts and politics in music at the University of Edinburgh, in her book "Irony, Satire, Parody and the Grotesque in the Music of Shostakovich", in "the traditional Russian perception of the arts", an "interrelationship between artistic technique and ideological content is the main aesthetic criterion" (ix; cf. Blois). Ludwig van Beethoven did not use the original title "Ode to Freedom" of Friedrich Schiller's lyric, known in English as "Ode to Joy" (1785), in setting it to music in the final movement of his Ninth Symphony (1824), which "Napoleonic censors had forced the poet to change to 'Ode to Joy'." After the fall of
Symphony No. 9 (Beethoven) thematic ideas from it. The colossal slow movement of Bruckner's Symphony No. 7, "as usual", takes the same A–B–A–B–A form as the 3rd movement of Beethoven's symphony and also uses some figuration from it. In the opening notes of the third movement of his Symphony No. 9 ("From the New World"), Antonín Dvořák pays homage to the scherzo of this symphony with his falling fourths and timpani strokes. Likewise, Béla Bartók borrows the opening motif of the scherzo from Beethoven's Ninth symphony to introduce the second movement scherzo in his own Four Orchestral Pieces, Op. 12 (Sz 51). One legend