000			04081nam a2200385 i 4500
001			35805
008			131230s2004 inum b a001 0 eng d
020			_a025334459X
020			_a9780253344595
040			_aBAUN _beng _cBAUN _erda
049			_aBAUN_MERKEZ
050	0	4	_aML3845 _b.H35 2004
100	1		_aHatten, Robert S.
245	1	0	_aInterpreting musical gestures, topics, and tropes : _bMozart, Beethoven, Schubert / _cRobert S. Hatten.
264		1	_aBloomington : _bIndiana University Press, _c[2004]
264		4	_c©2004
300			_aix, 358 pages : _billustrations ; _c25 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
490	1		_aMusical meaning and interpretation
504			_aIncludes bibliographical references (pages [323]-338) and indexes.
505	0	0	_t-- 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 _t-- Expressive doubling, topics, tropes, and shifts in level of discourse : interpreting the third movement of Beethoven's String Quartet in B major, Op. 130 _t-- From topic to premise and mode : the pastoral in Schubert's Piano Sonata in G Major, D 894 _t-- The troping of topics, genres, and forms : Bach, Mozart, Beethoven, Schubert, Schumann, Brahms, Bruckner, Mahler _t-- Musical gesture. Foundational principles of human gesture _t-- Toward a theory of musical gesture _t-- Stylistic types and strategic functions of gestures _t-- Thematic gesture in Schubert : the Piano Sonatas in A Major, D. 959, and A Minor, D 784 _t-- Thematic gesture in Beethoven : the Sonata for Piano and Cello in C Major, Op. 102, numbers 1 _t-- Gestural troping and agency _t-- Continuity and discontinuity. From gestural continuity to continuity as premise _t-- Discontinuity and beyond.
520	1		_a"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."
520	8		_a"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
520	1		_a"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.".
520	8		_a"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.
600	1	0	_aMozart, Wolfgang Amadeus, _d1756-1791 _xCriticism and interpretation. _9113201
600	1	0	_aBeethoven, Ludwig van, _d1770-1827 _xCriticism and interpretation. _999827
600	1	0	_aSchubert, Franz, _d1797-1828 _xCriticism and interpretation. _9113211
650		0	_aMusic _xSemiotics.
710	2		_9111662 _aIndiana University. _bPress
830		0	_9109472 _aMusical meaning and interpretation.
942			_2lcc _cKT
999			_c33014 _d33014