Approaches to Meaning in Music

Index

Index Page numbers in italics refer to illustrations. 2001: A Space Odyssey, 102 Abbate, Carolyn, 112–113 Adamowicz, Elsa, 119, 124 Adorno, Theodor, 59n9, 99; breakthrough moment, 145–146 aesthetic categories, 44–45, 59n14 Agawu, V. Ko¤, 7, 99 Aida (Verdi), 176 Allanbrook, Wendy, 99 allusion, stylistic, 83–85 Almén, Byron, 8–9, 112, 127 Also sprach Zarathustra (Nietzsche), 89–92 Also sprach Zarathustra (Strauss), 89–93, 90– 92, 102 analyst. See listeners; music analysis anticipatory gestures, 7, 72 anti-teleological events, 6, 41. See also nondiscursive music Apparitions (Ligeti), 54 Appello (Kolb), 54, 56 arbitrary encoding, 81 archetypes. See mythoi aspectual perspective, 62–64 associative meaning, 76; absolute music and, 93– 98; allusion to speci¤c piece, 89–93; application of model, 80–98; arbitrary encoding, 81; changes in understanding, 103; communication , facilitation of, 103–104; context and, 102–103; familiarity and, 7–8, 77–78, 95; ¤vestep model for, 78–80, 85; juxtaposition of elements , 79, 87–88, 93–94, 97–98; levels of, 78, 79; listener interpretation, 79; listener knowledge and, 88, 101–102; performance and, 81– 83; personal meanings, 93, 103; preference for familiar music, 82–83, 102; programmatic music and, 83–93; psychological effects, 5, 99–100; quotation, 83; recognition of formal/ conventional paradigms, 78, 93–95, 100; reference internal to piece or convention, 96–97; reference to musical syntax, 97–98; results of model, 98–101; stylistic allusion, 83–85; text and, 85; topic and timbre, 85–88; wide variety of examples accommodated, 80–81 Atmospheres (Ligeti), 54, 55, 58 atonal music, 35, 74 audience. See listeners; music analysis “baiser de l’Enfant-Jésus, Le” (Messiaen), 35, 36 Bakhtin, Mikhail, 172 Bal, Mieke, 178, 209n14 Barry, Kevin, 59n11 Barthes, Roland, 130–132 Battleship Potemkin (Eisenstein), 131 Bauer, Henri, 196 Bauer-Lechner, Natalie, 139 BBC, 116 Beckett, Samuel, 54, 57 Beethoven, Ludwig van: in concerts of excerpts, 185, 187; Fourth Piano Concerto in G Major , 107–109, 114–115, 127, 128–129; Hammerklavier Piano Sonata, Op. 106, 66–68, 67; Piano Sonata in A Minor, Op. 2, No. 2, 17, 17; Piano Sonata in D Major, Op. 10, No. 3, 17, 18; Piano Sonata in D Minor, Op. 31, No. 2, 17, 19; Piano Sonata in E, Op. 109, 75nn7,8; Piano Sonata in F Minor, Op. 2, No. 1, 17, 17; Quartet Op. 135, 14–19; Sixth Symphony, 147; Violin Concerto, Saint-Saëns’s cadenza, 187, 210n34 Bellaigue, Camille, 196 Bennett, Tony, 116 Berg, Alban: Piano Sonata, Op. 1, 65, 65–66, 96, 96–98, 106n26 Bergson, Henri, 74n1 Berlioz, Hector, 188 biblical tradition, 136, 140, 143, 153–154; ¤sh symbolism, 158–160 Birchler, David, 140 bird symbolism, 141–142, 162, 164 Bloch, Ernest, 51, 51–53, 52, 53, 58, 61n26 Bloom, Harold, 99 “Bohemian Rhapsody” (Queen), 125–127, 128, 133n30 Bon Marche department store concerts, 196, 197 Bonds, Mark Evan, 99 Bonnefoy, Yves, 118 Boretz, Benjamin, 60n22 borrowing, musical, 99, 190, 199 Boulanger, Nadia, 116 Boulez, Pierre, 210n28; douze notations, No. 2, 37, 39, 39–40 bourgeois worldview, 121 Brahms, Johannes: Fourth Symphony, 63; Violin Sonata in G, Op. 78, 64, 64–65 Breton, André, 119, 124, 131 brilliant style, 93 Brooks, Jeanice, 116 bugle, 81 Bull, Georges, 192, 194 Bürger, Peter, 171 Burgoyne, Robert, 133n5 Burke, Richard, 128 Burkholder, J. Peter, 6, 7–8, 66, 144 Busoni, Ferruccio, 190 Butler, Judith, 134n34 cadence, four-part melodic idea and, 19–20, 20– 25, 26–29 Cage, John, 43, 59n7 Campbell, Joseph, 143, 169nn28,30 Caplin, William, 49 Carnaval (Schumann), 111 causality, interpretation and, 112, 113 Chabanon, Michel-Paul-Gui de, 104n6 Chants de Maldoror, Les (Lautréamont), 118 “Chapeaux de gaze” (Breton), 119, 124 Chatman, Seymour, 72, 112 Chevalier, Jean, 146 Chopin, Frédéric: arpeggiated ¤gure in cadence, 19–20, 26; Ballade in A
Major, Op. 47, 19, 21, 26, 28; Ballade in F Minor, Op. 52, 20, 23; Beethoven’s in®uence on, 14–19; Etude in A Minor, Op. 25, No. 10, 19–20, 22, 23; gestural elements, comparison of, 26–29, 28; Prelude in D Minor, Op. 28, No. 24, 20–26, 24–25, 28; Sonata in B Minor, Op. 58, 14, 16; Waltz in A
Major, Op. 64, No. 3, 18, 20; Waltz in E Minor , Op. posth., 14, 15 chord of nature, 112 Cincinnati Symphony Orchestra, 88 classical tradition, 136–139, 141–142, 153, 158 Clifton, Thomas, 110, 114 closural gesture, 7; used as opening theme, 64– 66, 72 coda, four-part melodic...