Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation

Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation


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Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation by Robert S Hatten

Musical Meaning in Beethoven offers a fresh approach to the interpretation and explanation of musical expressive meaning. Beginning with a provocative analysis of the slow movement from Beethoven's Hammerklavier piano sonata, the investigation examines the role of markedness, Classical topics, expressive genres, and musical tropes in fostering expressive interpretation at all levels of structure. Along the way, close readings of movements from Beethoven's late piano sonatas and string quartets highlight less-obvious expressive meanings and explain how more-familiar piano meanings are consistently cued from one work to the next. The model of musical meaning that Robert S. Hatten puts forth is grounded in the semiotic contributions of Charles Sanders Peirce, Umberto Eco, and Michael Shapiro; and in the theoretical and historical contributions of Leonard B. Meyer, Charles Rosen, and Leonard Ratner. In addition, the latest musicological scholarship is brought to bear on a stylistic approach of considerable interpretive depth. Radically departing from both the nineteenth-century Formalist aesthetics of Eduard Hanslick and Formalist theories underlying tonal analysis in the twentieth century, the author argues that expressive meaning is not extramusical but fundamental to the reconstruction of compositional practice and stylistic understanding, even for the "absolute" works of Beethoven.

Product Details

ISBN-13: 9780253327420
Publisher: Indiana University Press
Publication date: 01/28/1994
Series: Advances in Semiotics Series
Pages: 372
Product dimensions: 6.44(w) x 9.56(h) x 1.27(d)

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

Part IInterpretation and Theory
IA Case Study for Interpretation: The Third Movement of Op.106 (Hammerklavier)9
IICorrelation, Interpretation, and the Markedness of Oppositions29
IIIFrom Topic to Expressive Genre67
IVThe Pastoral Expressive Genre: The Four Movements of Op.10191
VThe Thematic Level and the Markedness of Classical Material112
VIThematic Markedness: The First Movements of Op. 130 and Op. 131133
VIIBeyond the Hierarchies of Correlation: Troping, Irony, Levels of Discourse, and Intertextuality161
VIIIAnalysis and Synthesis: The Cavatina from Op. 130203
Part IIHistorical and Theoretical Perspectives
IXFrom the Aesthetic to the Semiotic227
XFurther Perspectives on Musical Meaning and Cognition246
AppendixAbnegation and the New Genre281
Index of Concepts342
Index of Names and Works345

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