From emotion to meaning: A teaching application of Topic Theory in Musicology
DOI:
https://doi.org/10.37467/revhuman.v12.4671Keywords:
Musical topics, Topic theory, Emotions, Meaning, Musicology, Semiotic, Micro-videosAbstract
This innovation project aims to correct the difficulties of students of the Degree in Musicology to use musical analysis tools. It is oriented towards the curricular competences of the subject Music and Thought in the Age of Enlightenment (18th century). This requires analytical work on the Central European tonal music repertoire in connection with the currents of style and thought of the time. According to the principle of Topic theory, a series of didactic strategies have been developed in order to connect the emotional experience of the student with the meaning of musical topics.
References
Agawu, K. (1991). Playing with Signs: A Semiotic Interpretation of Classical Music. Princeton University Press. DOI: https://doi.org/10.1515/9781400861835
Agawu, K. (2009). Music as Discourse: Semiotic Adventures in Romantic Music. Oxford University Press. DOI: https://doi.org/10.1093/acprof:oso/9780195370249.001.0001
Agawu, K. (2014). Topics and form in Mozart’s string quintet in E flat major, K.614/i. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 474-492). Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.013.0018
Allanbrook, W. J. (1983). Rhythmic Gesture in Mozart. Le Nozze di Fígaro & Don Giovanni. University of Chicago Press. DOI: https://doi.org/10.7208/chicago/9780226437712.001.0001
Allanbrook, W. J. (2014). The secular commedia. Comic mimesis in Late Eighteenth-Century Music. University of California Press.
Baker, N. K. (1983). Heinrich Christoph Koch. Introductory Essay on Composition. Yale University Press.
Barten, S. S. (1998). Speaking of music: The use of motor-affective metaphors in music instruction. Journal of Aesthetic Education, 32, 89-97. https://doi.org/10.2307/3333561 DOI: https://doi.org/10.2307/3333561
Bonde, L. O. (2007). Music as metaphor and analogy. Nordic Journal of Music Therapy, 16, 73-81. www.tandfonline.com/toc/rnjm20/16/1 DOI: https://doi.org/10.1080/08098130709478173
Bonds, M. E. (1991). Wordless rhetoric: Musical form and the metaphor of the oration. Harvard University Press. DOI: https://doi.org/10.4159/harvard.9780674733411
Bonds, M. E. (2006). Music as thought: listening to the symphony in the age of Beethoven. Princeton University Press.
Boulton J. T (1967). Edmund Burke. A philosophical enquiry into the origin of our ideas of the sublime and beautiful. Routledge & Kegan Paul Ltd.
Brossard, S. (1703). Dictionnaire de Musique. Ballard.
Buelow, G. J. (1966). The loci topici and Affect in late Baroque music: Heinichen’s practical demonstration. Music Review, 27, 161-176. https://doi.org/10.2307/895972 DOI: https://doi.org/10.2307/895972
Buelow, G. J. (1966). Johann Mattheson and the Invention of the Affektenlehre. New Mattheson Studies, George J. Buelow & Hans Joachim Marx (Eds.), 393-407. Cambridge University Press.
Bukofzer, M. (1947). Music in the Baroque Era. From Monteverdi to Bach. W.W. Norton. Tr.: La música en la época barroca. De Monteverdi a Bach, Alianza Editorial, 2002.
Caplin, W. E. (2005). On the relation of Musical Topoi to Formal Function, Eighteenth-Century Music, 2 (1), 113-124. https://doi.org/10.1017/S1478570605000278 DOI: https://doi.org/10.1017/S1478570605000278
Caplin, W. E. (2014). Topics and formal functions: The case of the lament. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 415-452). Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.013.0016
Chapin, K. (2014). Learned style and Learned styles. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 330-329). Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.013.0012
Chua, D. K. L. (1999). Absolute music and the construction of meaning. Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511481697
Clarke, E. F. (2005). Ways of listening: An ecological approach to the perception of musical meaning. Oxford University Press.
Cook, N. & Dibben, N. (2010). Emotion in Culture and History; Perspectives From Musicology. En P. N. Juslin & J. A. Sloboda (Eds.), Handbook of Music and Emotion (pp. 44-72). Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199230143.003.0003 DOI: https://doi.org/10.1093/acprof:oso/9780199230143.003.0003
Johnson, M. (1987). The body in the mind. The bodily basis of meaning, imagination, and reason. Chicago University Press. DOI: https://doi.org/10.7208/chicago/9780226177847.001.0001
Johnson, M.L. & Larson, S. (2003). “Something in the way she moves”-metaphors of musical motion. Metaphor and Symbol, 18, 63-84. https://doi.org/10.1207/S15327868MS1802_1
Juslin, P. N., & Sloboda, J. (Eds.). (2001). Music and emotion: Theory and research. Oxford University Press.
Juslin, P. N., & Laukka, P. (2004). Expression, perception, and induction of musical emotions: A review and a questionnaire study of everyday listening. Journal of New Music Research, 33, 217-238. https://doi.org/10.1080/0929821042000317813
Juslin, P. N & Timmers, R. (2010). Expression and Communication of Emotion in Music Performance. En P. N. Juslin & J. A. Sloboda (Eds.). Handbook of Music and Emotion (pp. 453-489). Oxford University Press.
Cumming, N. (2000). The sonic self: Musical subjectivity and signification. Indiana University Press.
Davies, S. (1980). The Expression of Emotion in Music. Mind, 89, 67-86. www.jstor.org/stable/2253505 DOI: https://doi.org/10.1093/mind/LXXXIX.353.67
Davies, S. (1994). Musical Meaning and Expression. Cornell University Press. DOI: https://doi.org/10.7591/9781501733987
Day-O’Connell, S. (2014). The Singing style. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 238-258). Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.013.0010
Descartes, R. (1649). Les passions de l’âme. Tr. Martínez, J. A. (1997). René Descartes. Las pasiones del alma. Tecnos.
Drixon, T. (2003). From Passions to Emotions: the Creation of a Secular Psy-chological Category. Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511490514
Dowling, W. J., & Harwood, D. L. (1986). Music Cognition. Cambridge Academic Press.
Dreyfus, L. (1991). The hermeneutics of lament: A neglected paradigm in a Mozartian Trauermusik. Music Analysis, 10 (3), 329-343. https://doi.org/10.2307/853971 DOI: https://doi.org/10.2307/853971
Eerola, T. y Vuoskoski, J. K. (2011). A comparison of the discrete and dimensional models of emotions in music. Psychology of Music, 39, 18-49. DOI: https://doi.org/10.1177/0305735610362821
https://journals.sagepub.com/doi/10.1177/0305735610362821
Eerola, T. y Vuoskoski, J. K. (2013). A review of music and emotion studies: Approaches, emotion models, and stimuli. Music Perception: An Interdisciplinaty Journal, 30, 307-340. https://www.jstor.org/stable/10.1525/mp.2012.30.3.307 DOI: https://doi.org/10.1525/mp.2012.30.3.307
Ekman, P. (1992). An argument for basic emotions. Cognition & Emotion, 6, 169-200. DOI: https://doi.org/10.1080/02699939208411068
Gjerdingen, R. O. (2007). Music in the Galant style. Oxfod University Press.
Graböcz, M. (1996). Semiological terminology in musical analysis. En E. Tarasti (Ed.), Musical semiotics in growth (pp. 195-218). Indiana University Press.
Grimalt, J. (2020). Mapping musical signification. Springer. DOI: https://doi.org/10.1007/978-3-030-52496-8
Haringer, A. (2014). Hunt, Military, and Pastoral topics. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 194-213). Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.013.008
Hatten, R. S. (1994). Musical meaning in Beethoven: Markedness, correlation and interpretation. Indiana University Press.
Hatten, R. S. (2004). Interpreting musical gestures, topics, and tropes: Mozart, Beethoven, Schubert. Indiana University Press.
Hatten, R. S. (2012). On metaphor and syntactic troping in music. En E. Sheinberg (Ed.), Music semiotics: A network of significations: In honour and memory of Raymond Monelle (pp. 87-103). Ashgate. DOI: https://doi.org/10.4324/9781315090801-8
Hatten, R. S. (2014). The troping of topics in Mozart’s instrumental works. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 514-536). Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.013.0020
Hatten, R. S. (2018). A Theory of Virtual Agency for Western Art Music (Musical Meaning and Interpretation). Indiana University Press. DOI: https://doi.org/10.2307/j.ctv512trj
Head, M. (2014). Fantasia and Sensibility. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 259-278). Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.013.001
Heartz, D. (2003). Music in European capitals: the galant style, 1720-1780. W.W. Norton.
Heinichen, J. D. (1728). Der General-Bass in der Composition, Dresde.
Hunter, M. (2014). Topics and opera buffa. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 61-89). Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.013.003
Hunter, P. G & Schellenberg, E. G. (2010). Music and Emotion. En M. R. Jones, R. R. Fay, & A. N. Popper (Eds). Music Perception. Springer (pp. 129-164). DOI: https://doi.org/10.1007/978-1-4419-6114-3_5
Huron, D. (2012). Understanding music-related emotion: Lessons from ethology. En E. Cambouropoulos, C. Tsougras, P. Mavromatis, & K. Pastiadis (Eds.), Proceedings of the 12th International Conference on Music Perception and Cognition. Thesaloniki (pp. 473-481). ESCOM.
Huron, D. (2015). The other semiotic legacy of Charles Sanders Peirce: Ethology and Music-Related emotion. En C. Maeder & M. Reybrouck (Eds.), Music Analysis Experience. New perspectives in musical semiotics (pp. 185-208). Leuven University Press. DOI: https://doi.org/10.2307/j.ctt180r0s2.17
Ivanovich, R. (2014). The Brilliant style. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 330-354). Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.013.0013
Johnson, M.L. & Larson, S. (2003). “Something in the way she moves”-metaphors of musical motion. Metaphor and Symbol, 18, 63-84. https://doi.org/10.1207/S15327868MS1802_1 DOI: https://doi.org/10.1207/S15327868MS1802_1
Juslin, P. N., & Laukka, P. (2004). Expression, perception, and induction of musical emotions: A review and a questionnaire study of everyday listening. Journal of New Music Research, 33, 217-238. https://doi.org/10.1080/0929821042000317813 DOI: https://doi.org/10.1080/0929821042000317813
Juslin, P. N., & J. Sloboda (Eds.). (2001). Music and emotion: Theory and research. Oxford University Press.
Keefe, S. (Ed.). (2009). The Cambridge History of Eighteenth Century Music. Cambridge University Press. DOI: https://doi.org/10.1017/CHOL9780521663199
Kivy, P. (1980). The Corded Shell: Reflections on Musical Expression. Princeton University Press.
Kivy, P. (1990). Music Alone: Philosophical Reflections on the Purely Musical Experience. Cornell University Press.
Kivy, P. (2001). New Essays on Musical Understanding. Clarendon Press.
Koch, H. C. (1802). Musicalisches Lexikon, 1802. Frankfurt, Main. Reed. Kassel-Bärenreiter, 2001.
Lakoff, G., & Johnson, M. (1980). The metaphorical structure of the human conceptual system. Cognitive Science, 4, 195-208. https://doi.org/10.1207/s15516709cog0402_4 DOI: https://doi.org/10.1207/s15516709cog0402_4
Larson, S. (2012). Musical forces: Motion, metaphor, and meaning in music. Indiana University Press.
Lidov, D. (1999). Elements of semiotics. St. Martin’s Press.
Mattheson, J. (1713). Das Neu-eröffnete Orchestre. Hamburg. Legare Street Press, 2021.
Mattheson, J. (1739). Der Vollkommene Capellmeister Das Ist Gründliche Anzeige Aller Derjenigen Sachen. Hamburg. Tr. en Pascual León, F. (2021). El perfecto maestro de capilla (Hamburgo, 1739): Traducción crítica. Edict Oràlia, Música, Band 26.
Meyer, L. B. (1973). Explaining music. The University of California Press. DOI: https://doi.org/10.1525/9780520333109
McClelland, C. (2012). Ombra. Supernatural music in the Eighteenth Century. Lexington Books.
McClelland, C. (2014). Ombra and Tempesta. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 279-300). Oxford University Press.
McKay, N. (2007). On topics today, Zeitschrift der Gesellschaft für Musiktheorie, 4/1, 159-183. https://doi.org/10.31751/251 DOI: https://doi.org/10.31751/251
McKee, E. (2014a). Ballroom dances of the Late Eighteenth Century. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 164-193). Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.013.007
McKee, E. (2014b). Decorum of the Minuet, delirium of the Waltz: A study of Dance-music, relations in ¾ time. Indiana University Press.
Mirka, D. (Ed.). (2014a). The Oxford Handbook of Topic Theory. Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.001.0001
Mirka, D. (2014b). Topics and meter. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 357-380). Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.013.0014
Monelle, R. (2000). The sense of music Semiotic Essays. Princeton University Press.
Monelle, R. (2006). The Musical Topic: Hunt, Military and Pastoral. Indiana University Press.
Neubauer, J. (1986). The emancipation of music from language: departure from mimesis in Eighteenth-Century aesthetics. Yale University Press. Tr.: La emancipación de la música. El alejamiento de la mímesis en la estética del siglo XVIII, 1992, La balsa de la Medusa.
Paddison, M. (2010). Mimesis and the aesthetics of musical expression. Music Analysis 29 (13), 126-148. https://www.jstor.org/stable/41289724 DOI: https://doi.org/10.1111/j.1468-2249.2011.00333.x
Powers, H. (1995). Reading Mozart’s music: Text and topic, syntax and sense. Current Musicology, 57, 5-44. https://www.proquest.com/docview/1297279645?
Ratner, L. (1980). Classic Music; Expression, Form and Style. Schirmer.
Ratner, L. (1991). Topical content in Mozart’s keyboard sonatas, Early Music, 19, 615-619. https://www.jstor.org/stable/3127924 DOI: https://doi.org/10.1093/earlyj/XIX.4.615
Robinson, J. & Hatten, R. S. (2012). Emotions in music. Music Theory Spectrum, 34 (2), 71-106. https://doi.org/10.1525/mts.2012.34.2.71 DOI: https://doi.org/10.1525/mts.2012.34.2.71
Rosand, E. (1979). The descending tetrachord: An emblem of lament. The Musical Quarterly, 67 (3), 346-359. https://www.jstor.org/stable/741489 DOI: https://doi.org/10.1093/mq/LXV.3.346
Rousseau, J-J. (1768). Dictionnaire de Musique. Veuve Duchesne.
Rumph, S. (2011). Mozart and Enlightment Semiotics. University of California Press. DOI: https://doi.org/10.1525/9780520950115
Schaerlaeken, S., Glowinski, D., Rappaz, M.-A., & Grandjean, D. (2019). “Hearing music as…”: Metaphors evoked by the sound of classical music. Psychomusicology: Music, Mind, and Brain, 29, 100-116. https://doi.apa.org/doiLanding?doi=10.1037%2Fpmu0000233 DOI: https://doi.org/10.1037/pmu0000233
Scharlaeken, S., Glowinski, D., & Grandjean, D. (2022). Linking musical metaphors and emotions evoked by the sound of classical music. Psychocoly of Music, 50 (1), 245-264. https://doi.org/10.1177/0305735621991235 DOI: https://doi.org/10.1177/0305735621991235
Sheinberg, E. (Ed.). (2012). Music Semiotics: A Network of Significations. In Honour and Memory of Raymond Monelle. Ashgate.
Spitzer, M. (2003). The Metaphor of Musical Space. Musicae Scientiae, 15, 159-173. DOI: https://doi.org/10.1177/102986490300700106
Spitzer, M. (2010). Mapping the Human Heart. A Holistic Analysis of Fear in Schubert. Music Analysis 29 (1/3), 149-213.
Sulzer, J. G. (1774). Allgemeine Theorie der schönen Künste. Vol 2, Weidmann.
Sutcliffe, W. D. (2014). Topics in Chamber Music. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 118-140). Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.013.005
Sutcliffe, W. D. (2003). The keyboard sonatas of Domenico Scarlatti and Eighteenth-Century musical style. Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511481857
Tarasti, E. (1994). A Theory of Musical Semiotics. Indiana University Press.
Tarasti, E. (2002). Signs of Music: A Guide to Musical Semiotics. Mouton de Gruyter. DOI: https://doi.org/10.1515/9783110899870
Webster, J. (2004). The Eighteenth century as a music-historical period? Eighteenth Century Music I (1), 47-60. https://doi.org/10.1017/S147857060400003X DOI: https://doi.org/10.1017/S147857060400003X
Wellbery, D. E. (1984). Lessing’s Laocoon: Semiotics and aesthetics in the Age of Reason. Cambridge University Press. DOI: https://doi.org/10.2307/1771983
Wöfflin, H. (1888). Renaissance und Barock. Tr.: Renacimiento y Barroco. Paidós Ibérica, 2009.
Zbikowski, L. (2002). Conceptualizing music: Cognitive structure, theory, and analysis. Oxford University Press. DOI: https://doi.org/10.1093/acprof:oso/9780195140231.001.0001
Zbikowski, L. M. (2008). Dance topoi, sonic analogues and musical grammar: Communicating with music in the Eighteenth Century. En D. Mirka & K. Agawu (Eds.), Communication in Eighteenth-Century music (pp. 283-309). Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511481376.011
Zbikowski, L. M. (2014). Music and the dance in the Ancien Régime. En D. Mirka (Ed.), The Oxford Handbook of Topic Theory (pp. 143-163). Oxford University Press. DOI: https://doi.org/10.1093/oxfordhb/9780199841578.013.006
Zbikowski, L. M. (2015). Musical semiotics and analogical reference. En C. Maeder & M. Reybrouck (Eds.), Music Analysis Experience. New perspectives in musical semiotics (pp. 167-184). Leuven University Press. DOI: https://doi.org/10.2307/j.ctt180r0s2.16
Zentner, M., Grandjean, D., & Scherer, K. R. (2008). Emotions evoked by the sound of music: Characterization, classification, and measurement. Emotion, 8 (4), 494-521. https://doi.org/10.1037/1528-3542.8.4.494 DOI: https://doi.org/10.1037/1528-3542.8.4.494
Zentner, M., & Eerola, T. (2010). Self-report measures and models. En P. N. Juslin & J. A. Sloboda (Eds.), Handbook of Music and Emotion (pp. 187-221). Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199230143.003.0008 DOI: https://doi.org/10.1093/acprof:oso/9780199230143.003.0008
Downloads
Published
How to Cite
Issue
Section
License
Those authors who publish in this journal accept the following terms:
- Authors will keep the moral right of the work and they will transfer the commercial rights.
- After 1 year from publication, the work shall thereafter be open access online on our website, but will retain copyright.
- In the event that the authors wish to assign an Creative Commons (CC) license, they may request it by writing to publishing@eagora.org
