TY  - BOOK
AU  - Hatten,Robert S.
ED  - Indiana University.
TI  - Interpreting musical gestures, topics, and tropes: Mozart, Beethoven, Schubert 
T2  - Musical meaning and interpretation
SN  - 025334459X
AV  - ML3845 .H35 2004
PY  - 2004///]
CY  - Bloomington
PB  - Indiana University Press
KW  - Mozart, Wolfgang Amadeus,
KW  - Beethoven, Ludwig van,
KW  - Schubert, Franz,
KW  - Music
KW  - Semiotics
N1  - Includes bibliographical references (pages [323]-338) and indexes; -- Markedness, topics, and tropes. Semiotic grounding in markedness and style : interpreting a style type in the opening of Beethoven's Ghost Trio, Op. 70, numbers 1; -- Expressive doubling, topics, tropes, and shifts in level of discourse : interpreting the third movement of Beethoven's String Quartet in B major, Op. 130; -- From topic to premise and mode : the pastoral in Schubert's Piano Sonata in G Major, D 894; -- The troping of topics, genres, and forms : Bach, Mozart, Beethoven, Schubert, Schumann, Brahms, Bruckner, Mahler; -- Musical gesture. Foundational principles of human gesture; -- Toward a theory of musical gesture; -- Stylistic types and strategic functions of gestures; -- Thematic gesture in Schubert : the Piano Sonatas in A Major, D. 959, and A Minor, D 784; -- Thematic gesture in Beethoven : the Sonata for Piano and Cello in C Major, Op. 102, numbers 1; -- Gestural troping and agency; -- Continuity and discontinuity. From gestural continuity to continuity as premise; -- Discontinuity and beyond
N2  - "This book continues to develop Hatten's theory of musical physical based on the principles of semiotic theory as introduced in Musical Meaning in Beethoven (1994). In Part One, Hatten applies his theories of markedness, topics, and tropes to individual works by Beethoven and Schubert, ending the section with a chapter that presents an overview of topics, genres, and forms as tropes in Baroque, Classical, and Romantic music."; "Part Two introduces a new approach by combining critical theory with biological and psychological theories of gesture, thereby surpassing the limits of conventional semiotic analysis. Within this section, Hatten presents analyses of Classical period works by Beethoven, Mozart, and Schubert. Part three extends these ideas into a theory of musical continuity, with several analyses of Beethoven's late works."--BOOK JACKET; "This book continues to develop Hatten's theory of musical physical based on the principles of semiotic theory as introduced in Musical Meaning in Beethoven (1994). In Part One, Hatten applies his theories of markedness, topics, and tropes to individual works by Beethoven and Schubert, ending the section with a chapter that presents an overview of topics, genres, and forms as tropes in Baroque, Classical, and Romantic music."; "Part Two introduces a new approach by combining critical theory with biological and psychological theories of gesture, thereby surpassing the limits of conventional semiotic analysis. Within this section, Hatten presents analyses of Classical period works by Beethoven, Mozart, and Schubert. Part three extends these ideas into a theory of musical continuity, with several analyses of Beethoven's late works."--BOOK JACKET
ER  -