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By Robert S. Hatten

"Musical which means in Beethoven" deals a clean method of the matter of expressive that means in track. starting with a provocative research of the sluggish circulate of the Hammerklavier piano sonata, Robert S. Hatten examines the jobs of markedness, Classical themes, expressive genres, and musical tropes in fostering expressive interpretation in any respect degrees of constitution. shut readings of pursuits from Beethoven's overdue piano sonatas and string quartets spotlight less-obvious expressive meanings and clarify how more-familiar common meanings are continuously cued from one paintings to the subsequent. Hatten's version of musical that means is grounded within the semiotic rules of Charles Sanders Pierce, Umberto Eco, and Michael Shapiro, and within the theoretical and historic contributions of Leonard B. Meyer, Charles Rosen, and Leonard Ratner. notably departing from the nineteenth-century Formalist aesthetics of Eduard Hanslick and Formalist theories underlying twentieth-century tonal research, the writer argues that expressive that means isn't extramusical yet basic to the reconstruction of compositional perform and stylistic knowing, even for the "absolute" works of Beethoven.

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Extra resources for Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation (Advances in Semiotics)

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Identification of tokens in works, and their potential correlations as tokens of stylistic types; 3. Interpretation of the contextual relationship among tokens in terms of their strategic usage; 4. Generalization of those features insofar as they define new types, < previous page page_32 next page > < previous page page_33 next page > Page 33 5. Incorporation of some of the new types (and their correlations) in one's stylistic competency for interpreting later works in the style (style growth 3), as opposed to those that remain piece-specific; 6.

Speculation about how to interpret the unique features of a work that are not (as yet) generalizable. Another means of describing the fundamental dialectic between stylistic and strategic competencies is analogous to that of understanding an utterance in a language: first, one decodes according to the code (Scruton's "recognition") and second, one interprets according to the context. Linguists dispute the degree to which these two stages are autonomous in our processing of language, and even here a dialectic is at work.

31, no. 1; or the Waldstein. Appellations such as the Tempest, whether sanctioned by the composer or not, also reflect markedness. The major mode movements of sonatas that have received expressive titlesthe Pastoral and Les Adieuxare either characteristic in the case of the former, or programmmatic in the case of the latter, thus illustrating markedness with respect to oppositions other than mode. Obviously, reception history can only roughly indicate tendencies. I do not claim that works like the Waldstein cannot be interpreted in ways further specifying the nontragicthere are clearly heroic and hymnlike topical elements in the first movement, for examplebut that to go beyond "nontragic," one must invoke oppositions other than major vs.

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