This Book is in Good Condition. Clean Copy With Light Amount of Wear. 100% Guaranteed. Summary: 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. Buchnummer des Verkäufers
Inhaltsangabe: 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.
Buchbeschreibung Indiana University Press, 1994. Buchzustand: very good. Gently used. Expect delivery in 20 days. Buchnummer des Verkäufers 9780253327420-3
Buchbeschreibung Indiana University Press 1994-07-01, 1994. Hardcover. Buchzustand: Fine. 0253327423 1994 1st printing, Like New/Like New DJ in Mylar, very clean & tight, square, no markings, only very slight shelfwear, a very attractive copy. .Carefully packaged to protect the corners. Buchnummer des Verkäufers A1252
Buchbeschreibung Indiana University Press, 1994. Hardcover. Buchzustand: Very Good. Buchnummer des Verkäufers P020253327423
Buchbeschreibung Indiana University Press, 1994. Hardcover. Buchzustand: New. Buchnummer des Verkäufers P110253327423
Buchbeschreibung Indiana University Press, 1994. Hardcover. Buchzustand: Used: Good. Buchnummer des Verkäufers SONG0253327423
Buchbeschreibung Indiana University Press, 1994. Hardcover. Buchzustand: New. book. Buchnummer des Verkäufers 0253327423