Canon-Fodders: Parody of Learned Style in Beethoven

Abstract

Since the appearnce of Ratner's studies on topics and their significance in the classical style (Classic Music: Expression, Form and Style, 1980), accounts of the topic of the learned or strict style have become common in the literature. However, a specific variant of this topic—the parody of learned style—has scarcely been discussed, yet it is common enough to demand a detailed study and, arguably, to be recognized as a distinct subtopic. Given the established role of contrapuntal procedures as markers of learned style in the classical style, Beethoven often introduces them only to be used as grounds for comic or ironic manipulation. While parodies of counterpoint grew more frequent in Beethoven's quartets, he most likely emulated Haydn's use of this type of parody. Uncovering the types of irony embedded in Beethoven's string quartets offers a glimpse into the artist's mind, setting aright what was previously often considered “bad” writing and thus allowing new insights and interpretations of one aspect of his musical style. An earlier, shorter version of this article appeared in 2012 and is here excerpted by permission of the Publishers from “Parody of Learned Style,” in Music Semiotics: A Network of Significations, ed. Esti Sheinberg (Farnham: Ashgate, 2012), pp. 225–237, Copyright © 2012.