Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation

by Robert S. Hatten

Overview

"Hatten's interpretations are at times surprisingly poetic in their expression. . . . In his book he effectively creates an interaction between aspects of music theory, analysis, aesthetics and semiotics. His work yields some novel insights that deserve careful consideration from anyone in these fields." —The Semiotic Review of Books

Musical Meaning in Beethoven offers a fresh approach to the problem of expressive meaning in music. Beginning with a provocative analysis of the slow movement of the Hammerklavier piano sonata, Robert S. Hatten examines the roles of markedness, Classical topics, expressive genres, and musical tropes in fostering expressive interpretation at all levels of structure. Close readings of movements from Beethoven's late piano sonatas and string quartets highlight less obvious expressive meanings and explain how more familiar stylistic meanings are consistently cued from one work to the next. Co-recipient of the 1997 Wallace Berry Publication Award from the Society for Music Theory.

Musical Meaning and Interpretation—Robert S. Hatten, editor

Product Details

ISBN-13:	9780253217110
Publisher:	Indiana University Press (Ips)
Publication date:	10/20/2004
Series:	Musical Meaning and Interpretation
Pages:	368
Product dimensions:	6.00(w) x 9.00(h) x 0.85(d)
Age Range:	18 Years

About the Author

Robert S. Hatten is Professor of Music Theory in the Indiana University School of Music. He is editor of the series Musical Meaning and Interpretation.

Table of Contents

Foreword by David Lidov
Preface
Introduction
Part I. Interpretation and Theory
I. A Case Study for Interpretation
The Third Movement of Op. 106 (Hammerklavier)
II. Correlation, Interpretation, and the Markedness of Oppositions
III. From Topic to Expressive Genre
IV. The Pastoral Expressive Genre
The Four Movements of Op. 101
V. The Thematic Level and the Markedness of Classical Material
VI. Thematic Markedness
The First Movements of Op. 130 and Op. 131
VII. Beyond the Hierarchies of Correlation
Troping, Irony, Levels of Discourse, and Intertextuality
VIII. Analysis and Synthesis
The Cavatina from Op. 130
IX. From the Aesthetic to me Semiotic
X. Further Perspectives on Musical Meaning and Cognition
Conclusion
Appendix: Abnegation and the New Genre
Glossary
Notes
Bibliography
Index of Concepts
Index of Names and Works

Editorial Reviews

"This remarkable book should be seized upon by everyone looking to brush up their Ludwig. . . . Written so well, and with so little resort to classical music jargon, that it can be read in short amusing stretchesor long, engrossing sections. Read a few pages and you, too, can be humming him now."—huffingtonpost.com

From the Publisher

This remarkable book should be seized upon by everyone looking to brush up their Ludwig. . . . Written so well, and with so little resort to classical music jargon, that it can be read in short amusing stretchesor long, engrossing sections. Read a few pages and you, too, can be humming him now.

huffingtonpost.com