Abstract
Abstract This chapter examines how musical materials are organized within a work — more properly, the problem of musical syntax and, by extension, musical semiotics. Although semioticians are usually quick to grant that music has a syntax, they are more doubtful about whether its semantic level has any depth. By taking a close look at how composers make use of categories of musical events — in this case, the way Mozart and Beethoven use motives in the opening movements of three string quartets — the chapter provides insight into how musical materials are organized in the service of musical discourse, as well as how features of this organization contribute to meaning construction as a whole.
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