Abstract
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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