By Robert S. Hatten
"Musical which means in Beethoven" bargains a clean method of the matter of expressive that means in song. starting with a provocative research of the gradual flow 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 events from Beethoven's past due piano sonatas and string quartets spotlight less-obvious expressive meanings and clarify how more-familiar normal meanings are continually cued from one paintings to the following. Hatten's version of musical that means is grounded within the semiotic ideas of Charles Sanders Pierce, Umberto Eco, and Michael Shapiro, and within the theoretical and ancient contributions of Leonard B. Meyer, Charles Rosen, and Leonard Ratner. noticeably 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 primary to the reconstruction of compositional perform and stylistic knowing, even for the "absolute" works of Beethoven.
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Additional resources for Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation (Advances in Semiotics)
My purpose is not to predict the effects of unique contexts, nor to formulate rules of expression, but rather to provide, by means of correlations, starting points for further interpretations that will take account of a particular context. For Scruton, another problem associated with theories of expression is that they are often "intransitive" 2 because "we are reluctant to identify the content independently of its form" (1983: 54, 98). In other words, if the expressive content is unique and can only be identified with reference to a particular musical passage, then it is problematic to assume a separation of form and content in the first place.
But the section's rather traditional role in the movement requires less analytical attention. 10). 11, m. 100), furthering the thematic integrational strategy of the return. 12, mm. 108-109), including an oscillating accompaniment and a sweetening in parallel thirds to support the pastoral as opposed to the tragic. With the interrupted cadence a tonal shift occurs, and the aria theme returns deceptively in D major (VI of minor), progressing logically through B minor (iv of ) to V/V-V resolving in major.
The reinterpreted in the bass undergoes yet another diminished-seventh collapse in m. 59, after a failed attempt to cadence positively in m. 58. Note how the "arrival six-four" on the second half of m. 58 is undermined by the move from V to vii°7/IV. The resolution to IV in m. 59 is immediately subject to mutation (iv), almost redundantly supporting the tragic undermining of the passage. One last effort to resolve transcendently in D major by means of the rhetorical arrival six-four is thwarted, this time by a deceptive move that finds in the upper voice (middle of m.