Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation

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Indiana University Press, 2004 - 349 páginas

"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." —The Semiotic Review of Books

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 stylistic meanings are consistently cued from one work to the next. Co-recipient of the 1997 Wallace Berry Publication Award from the Society for Music Theory.

Musical Meaning and Interpretation—Robert S. Hatten, editor

 

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Índice

Introduction I
1
Eldredgc Nilcs 326
4
A Case Study for Interpretation
9
Correlation Interpretation and the Markedness
29
From Topic to Expressive Genre I
67
Faas Ekbcrt 284
73
The Thematic Level and the Markedness of Classical
112
Thematic Markedness
118
Goodman Nelson 1637 23642 249 295
236
Conclusion I
275
Abnegation and the New Genre I
281
Glossary I
287
Gould Stephen Jay 326
291
Notes I
297
Harris Ellen T
304
Laki Peter 302
325

The First Movements of Op 130 and Op 131 I
131
Beyond the Hierarchies of Correlation
161
Gombrich Ernst
167
Analysis and Synthesis
203

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Sobre el autor (2004)

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.

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