Table of Contents

Acknowledgments
Introduction
Part I. Markedness, Topics, and Tropes
1. Semiotic Grounding in Markedness and Style: Interpreting a Style Type in the Opening of Beethoven's Ghost Trio, Op. 70, no. 1
2. Expressive Doubling, Topics, Tropes, and Shifts in Level of Discourse: Interpreting the Third Movement of Beethoven's String Quartet in B-flat Major, Op. 130
3. From Topic to Premise and Mode: The Pastoral in Schubert's Piano Sonata in G Major, D. 894
4. The Troping of Topics, Genres, and Forms: Bach, Mozart, Beethoven, Schubert, Schumann, Brahms, Bruckner, Mahler
Part II. Musical Gesture
Introduction to Part II
5. Foundational Principles of Human Gesture
6. Toward a Theory of Musical Gesture
7. Stylistic Types and Strategic Functions of Gestures
8. Thematic Gesture in Schubert: The Piano Sonatas in A Major, D. 959, and A Minor, D. 784
9. Thematic Gesture in Beethoven: Sonata for Piano and Cello in C Major, Op. 102, no. 1
10. Gestural Troping and Agency
Conclusion to Part II
Part III. Continuity and Discontinuity
Introduction to Part III
11. From Gestural Continuity to Continuity as Premise
12. Discontinuity and Beyond
Conclusion
Notes
Bibliography
Index of Names and Works
Index of Concepts

Promotional Information

Definitive study of Mozart, Beethoven, and Schubert by an award-winning author.

About the Author

Robert S. Hatten is Professor of Music Theory at the University of Texas at Austin. He is author of Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation.

Reviews

"Robert Hatten's new book is a worthy successor to his Musical Meaning in Beethoven, which established him as a front-rank scholar ... in questions of musical meaning... Both how he approaches musical works and what he says about them are timely and to the point. Musical scholars in both musicology and theory will find much of value here, and will find their notions of musical meaning challenged and expanded." oPatrick McCreless