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Of all the repertories of Western Art music, none is as explicitly listener-oriented as that of the late eighteenth and early nineteenth centuries. Yet few attempts to analyze the so-called Classic Style have embraced the semiotic implications of this condition. Playing with Signs proposes a listener-oriented theory of Classic instrumental music that encompasses its two most fundamental communicative dimensions: expression and structure. Units of expression, defined in reference to topoi, are shown here to interact with, confront, and merge into units of structure, defined in terms of the rhetorical conventions of beginning, continuing, and ending. The book draws on examples from works by Mozart, Haydn, and Beethoven to show that the explicitly referential, even theatrical, surface of Classic music derives from a play with signs. Although addressed primarily to readers interested in musical analysis, the book opens up fruitful avenues for further research into musical semiotics, aesthetics, and Classicism. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Tom Hofer
reviewed Playing with signs on January 22, 2016
Playing with signs
I have not yet finished this book, but so far, it is fascinating. As a fourteen-year musician and a lifelong lover of books and words, I find this book wonderful. I have loved Jane Austen for many years, and picked this book up as a supplement to a class on Jane Austen, and, to my delight, it has addressed many of my questions about comparing two artists of different mediums who lived countries apart.
Part of the reason for my interest is that I came to notice that Jane Austen and the Classical composers are a perfect fit. In fact, stylistically, they are extremely similar. I had to ask; how can this be? In a nutshell, art reflects culture, but Robert K. Wallace, the author of this book, takes extreme care to detail all of the different aspects in which they are similar. In addition, he compares Jane Austen and Mozart (or the Classical artists) to artists of the Romantic period, such as the Bronte sisters (of Wuthering Heights and Jane Eyre), Beethoven, Liszt, and Tchaikovsky. I am finding his analyses of the various art forms to be incredibly perceptive. I have learned so much, and I am only reading Chapter II!
I will try to update when I have finished the book, but right now, I would definitely recommend this to anyone interested in literature and music of the late 18th century. In addition, I think that all Jane Austen fans and musicians should read this if they can get their hands on it. Although it has a lot of technical language, Wallace does try to make sure that his readers know what he is talking about, and even if he does not always succeed in this, the book has so much wonderful information that readers will learn a lot anyway.
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