| Description |
1 online resource (xvi, 349 pages) : illustrations. |
| Physical Medium |
polychrome |
| Description |
text file |
| Series |
Advances in semiotics.
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Advances in semiotics.
|
| Bibliography |
Includes bibliographical references (pages 328-341) and indexes. |
| Contents |
Foreword / David Lidov -- 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 the Semiotic -- X. Further Perspectives on Musical Meaning and Cognition -- Appendix: Abnegation and the New Genre. |
| Summary |
"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."--Jacket. |
| Local Note |
eBooks on EBSCOhost EBSCO eBook Subscription Academic Collection - North America |
| Subject |
Beethoven, Ludwig van, 1770-1827 -- Criticism and interpretation.
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Beethoven, Ludwig van, 1770-1827. |
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Criticism and interpretation. |
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Beethoven, Ludwig van, 1770-1827. |
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Beethoven, Ludwig van, 1770-1827 -- Critique et interprétation. |
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Beethoven, Ludwig van. |
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Music -- Semiotics.
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Music -- Semiotics. |
| Genre/Form |
Electronic books.
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Criticism, interpretation, etc.
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| Other Form: |
Print version: Hatten, Robert S. Musical meaning in Beethoven. Bloomington : Indiana University Press, ©1994 0253327423 |
| ISBN |
0585231869 (electronic book) |
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9780585231860 (electronic book) |
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0253327423 (cl ; alkaline paper) |
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9780253327420 (cl ; alkaline paper) |
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