semiotic approach=structuralist and hermeneutic approaches P16

structuralist approach=

hermeneutic approach=

what hatten is not proposing p17

musical meaning theories have to be constrain to their styles

what a semiotic approach should do and should be

Organization P18

Subjective range

A better one=intersubjective approach

Markedness

Questions p22

Style definition

Why does it serves us p 23

Hermeneutic approach

There are two competencies involved in musical understanding, the stylistic and the strategic (Figure
2.1). These correspond respectively to the general principles and constraints of a style, and the
individual choices and exceptions occasioned by a work P 41

stylistic correlations P42

strategic interpretations

tokens

expressive genres P43

thematic discourse

Critic to Nattiez P44

Interactive levels of understanding

One decodes… one interprets… P45

The Concept of Markedness and types P46

Markedness example P48

Diagram P49

Correlations vs analogies P50

Picardy third example 51

Chapter VII P177

Metaphor

Correlation P177

Correlation vs metaphor

Resignation P69/

Expressive genres P86/ 74

Strategic level P124/ 112

a slow introduction integrated into the thematic discourse of the movement P146/ 132

Correlations vs metaphor P177/165

Irony example: the Turkish March from the Finale of the Ninth Symphony. The topical interpretation
discussed earlier is funded by Romantic irony, a higher-level critical perspective that creates the trope. A
self-deflating, and thus humanizing, irony undercuts the previous elevation of tone or stylistic register
and provokes an interpretive synthesis as "all-embracing," a central metaphor for the movement ("alle
Menschen werden Brüder"). P186/176

Troping of harmony, voice leading, and thematized texture P204/192

Intertextuality P209/197 higher-level contrast of styles or topics, including invocations of earlier styles
P208/196

The Cavatina is a slow movement/ greatest depths of expression/slower tempo allows for greater
flexibility of expressive discourse/Adagio movements are often synonymous with personal reflection/
only occasional chromatic inflections lends the Cavatina a more "primal" expressivity/ Chorale-like
harmonic progressions and hymnic textures signal the high style, whereas the aria-like melody in the
first violin introduces a more personal element/ Simplicity in harmonic progression provides an elevated
pastoral contribution to the high style./ its developing variation suggests a more organic expansion of a
continuous discourse

the irruption of a recitative-like (Beklemmt, or "anguished") section is all the more effective as a
contrast. P219/207

Conclusion P222/210

Characteristics of the trope P226/214

The Beklemmt Interlude

Dramatic closure

Conclusion betterP234/222

Part I
Part II

Review of the approach

Early Nineteenth-Century Approaches to Musical Meaning: E T A Hoffman

Joseph Kerman: sp Along with preoccupation with structure goes the neglect of other vital matters —
not only the whole historical complex [lesser music, performance conditions, economic, social,
intellectual, and psychological forces] . . ., but also everything else that makes music affective, moving,
emotional, expressive.

Urgency for a expressive interpretation for beethoven: Dahlhaus

Robin Wallace:

Scott Burnham:

The problem Eduard Hanslick (1825-1904) was the first great formalist aesthetician of the latter part of
the nineteenth century.

Schumann as a critic: the music does not denote or portray the program; something like the reverse is
true: the program suggests and clarifies certain qualifies of the music

Early Symbolic Approaches: Langer, Meyer, and Goodman

Peter Kivy on Expression and Representation

Chapter X

The translation of the meaning of a passage

The use of metaphor and the program

The description of musical meaning 253

The Growth of Markedness and Musical Meaning 257

Is heavily charge with the linguistic theoretical subjects.