Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation

Overview

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 ...
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Overview

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 general meanings are consistently cued from one work to the next. Co-recipient of the 1997 Wallace Berry Book Award from the Society for Music Theory.
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Editorial Reviews

From the Publisher
"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."
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Product Details

  • ISBN-13: 9780253327420
  • Publisher: Indiana University Press
  • Publication date: 1/28/1994
  • Series: Advances in Semiotics Series
  • Pages: 372
  • Product dimensions: 6.44 (w) x 9.56 (h) x 1.27 (d)

Table of Contents

Foreword
I A case study for interpretation : the third movement of op. 106 Hammerklavier 9
II Correlation, interpretation, and the markedness of oppositions 29
III From topic to expressive genre 67
IV The pastoral expressive genre : the four movements of op. 101 91
V The thematic level and the markedness of classical material 112
VI Thematic markedness : the first movements of op. 130 and op. 131 133
VII Beyond the hierarchies of correlation : troping, irony, levels of discourse, and intertextuality 161
VIII Analysis and synthesis : the cavatina from op. 130 203
IX From the aesthetic to the semiotic 227
X Further perspectives on musical meaning and cognition 246
App Abnegation and the new genre 281
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