Table of Contents

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

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About the Author

Robert S. Hatten is Professor of Music Theory in the Indiana University School of Music. He is editor of the series Musical Meaning and Interpretation.

Reviews

"This remarkable book should be seized upon by everyone looking to brush up their Ludwig. . . . Written so well, and with so little resort to classical music jargon, that it can be read in short amusing stretchesor long, engrossing sections. Read a few pages and you, too, can be humming him now."—huffingtonpost.com