Communication in Eighteenth-Century Music

✍ Scribed by Danuta Mirka, Kofi Agawu

• Publisher: Cambridge University Press
• Year: 2008
• Tongue: English
• Leaves: 357
• Edition: illustrated edition
• Category: Library

✦ Synopsis

Written by ten leading scholars, this volume assembles studies of eighteenth- and early nineteenth-century music under the broad rubric of communication. That such an impulse motivates musical composition and performance in this period of European musical history is often acknowledged but seldom examined in depth. The book explores a broad set of issues, ranging from the exigencies of the market for books and music in the eighteenth century through to the deployment of dance topoi in musical composition. A number of close readings of individual works by Mozart, Haydn and Beethoven draw on a sophisticated body of historically-appropriate technical resources to illuminate theories of form, metre, bass lines and dance topoi. Students and scholars of music history, theory and analysis will find in this volume a set of challenging, state-of-the-art essays that will stimulate debate about musical meaning and engender further study.

✦ Table of Contents

Cover......Page 1
Half-title......Page 3
Title......Page 5
Copyright......Page 6
Contents......Page 7
Notes on contributors......Page 9
Introduction......Page 13
Notes......Page 20
PART I: Communication and the market......Page 23
1 Communication and verisimilitude in the eighteenth century......Page 25
Modelling communication......Page 26
Communication and the public......Page 30
Music and the public sphere in the later eighteenth century......Page 32
Communication, genre and verisimilitude......Page 36
Conclusion......Page 40
Notes......Page 41
2 Listening to listeners......Page 46
Notes......Page 59
The genesis of Opus 31......Page 65
The humorous in music around 1800......Page 67
Friedrich AugustWeber 1792/1800: species of the humorous......Page 68
Carl Friedrich Michaelis 1807: means of the humorous......Page 69
Op. 31 No. 1: analysis of the first movement......Page 72
The reception of Op. 31 No. 1......Page 84
Final remarks......Page 85
Notes......Page 86
PART II: Musical grammar......Page 93
Changing metre......Page 95
Changes of Taktteile in compound measures......Page 99
Changes of Taktteile in double measures......Page 107
Change of Taktteile and perceptual factors......Page 112
Playing with metre......Page 117
Notes......Page 119
I......Page 124
II......Page 126
III......Page 133
IV......Page 139
V......Page 146
VI......Page 157
Mitridate, Re di Ponto, K87 (1770)......Page 163
Idomeneo, K366 (1781, revised 1786)......Page 164
La clemenza di Tito, K621 (1791)......Page 165
Notes......Page 166
6 Schoenberg’s ‘second melody’, or, ‘Meyer-ed’ in the bass......Page 172
Notes......Page 193
PART III: Rhetorical form and topical decorum......Page 199
The theory......Page 201
1 Articulation......Page 203
2 Sentence and liquidation......Page 204
3 Mapping from phrase-level to exposition......Page 206
4 Structural liquidation......Page 208
(ii) Second subject as head of ‘cadential liquidation’......Page 209
(i) Material transformations......Page 210
(ii) Syntactic transformations......Page 211
String Quintet in C major, k515/i......Page 212
Sentence......Page 213
Transition......Page 214
1 Thematic liquidation......Page 217
2 Cadential liquidation......Page 221
Thematic liquidation......Page 226
Cadential liquidation......Page 230
Of metaphor: rhetoric, philosophy, cognition......Page 233
Notes......Page 238
8 Beethoven’s Op. 18 No. 3, .rst movement: two readings, with a comment on analysis......Page 242
First reading: tonal models......Page 243
Bridges to free composition......Page 258
Second reading: topics......Page 259
Notes......Page 263
9 Mozart’s k331, first movement: once more, with feeling......Page 266
Appendix: Analyses of the theme of k331/i (in chronological order, grouped by author)......Page 285
Meta-analyses......Page 286
Notes......Page 287
10 Dance topoi, sonic analogues and musical grammar: communicating with music in the eighteenth century......Page 295
Function and form in language and music......Page 297
Analogizing dance......Page 298
Musical construction grammar......Page 301
Musical communication in the eighteenth century......Page 303
The bourree of the French court and eighteenth-century instrumental music......Page 304
Haydn’s Finale......Page 311
Bars 25–34 of the Finale......Page 313
Bars 106–132 of the Finale......Page 314
Conclusion......Page 317
Notes......Page 319
Afterword......Page 322
Notes......Page 328
Bibliography......Page 330
Index of concepts......Page 347
Index of names and works......Page 352