Description

Book Synopsis
Presents an award-winning examination of Beethoven's music.

Trade Review

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 *

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

Musical Meaning in Beethoven Markedness

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    A Paperback / softback by Robert S. Hatten

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      Book details

      Publisher Indiana University Press
      Published 20 October 2004
      ISBN-13 9780253217110
      978-0253217110
      ISBN-10 0253217113
      Also in:
      Composers and songwriters Musicians, singers, bands and groups

      Description

      Book Synopsis
      Presents an award-winning examination of Beethoven's music.

      Trade Review

      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 *

      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

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