Description
Book SynopsisOf all the repertories of Western Art music, none is as explicitly listener-oriented as that of the late eighteenth and early nineteenth centuries. Yet few attempts to analyze the so-called Classic Style have embraced the semiotic implications of this condition. Playing with Signs proposes a listener-oriented theory of Classic instrumental music th
Trade Review"This book is extraordinarily rich in suggestion. Ideas are imported from Umberto Eco, Roland Barthes, David Lidov, Edward Said... This is eclecticism at its most erudite and liberal."--Music and Letters
Table of Contents*FrontMatter, pg. i*CONTENTS, pg. vii*PREFACE, pg. ix*ACKNOWLEDGMENTS, pg. xi*ONE. Introduction, pg. 1*TWO. Extroversive Semiosis: Topics as Signs, pg. 26*THREE. Introversive Semiosis: The Beginning-Middle-End Paradigm, pg. 51*FOUR. A Semiotic Interpretation of the First Movement of Mozart's String Quintet in C Major, K. 515, pg. 80*FIVE. A Semiotic Interpretation of the First Movement of Haydn's String Quartet in D Minor, Op. 76, No. 2, pg. 100*SIX. A Semiotic Interpretation of the First Movement of Beethoven's String Quartet in A Minor, Op. 132, pg. 110*SEVEN. Toward a Semiotic Theory for the Interpretation of Classic Music, pg. 127*EIGHT. Epilogue: A Semiotic Interpretation of Romantic Music, pg. 135*REFERENCES, pg. 145*INDEX, pg. 151
