Mozart and Enlightenment Semiotics

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University of California Press, Oct 18, 2011 - Biography & Autobiography - 286 pages
In this groundbreaking, historically-informed semiotic study of late eighteenth-century music, Stephen Rumph focuses on Mozart to explore musical meaning within the context of Enlightenment sign and language theory. Illuminating his discussion with French, British, German, and Italian writings on signs and language, Rumph analyzes movements from Mozart’s symphonies, concertos, operas, and church music. He argues that Mozartian semiosis is best understood within the empiricist tradition of Condillac, Vico, Herder, or Adam Smith, which emphasized the constitutive role of signs within human cognition. Recognizing that the rationalist model of neoclassical rhetoric has guided much recent work on Mozart and his contemporaries, Rumph demonstrates how the dialogic tension between opposing paradigms enabled the composer to negotiate contradictions within Enlightenment thought.
 

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Contents

Acknowledgments
Introduction
ONE From Rhetoric to Semiotics
TWO The Sense of Touch in Don Giovanni
THREE Topics in Context
FOUR Mozart and Marxism
FIVE A Dubious Credo
SIX Archaic Endings
Epilogue
Notes
Bibliography
Index
Copyright

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About the author (2011)

Stephen Rumph is Associate Professor of Music History at the University of Washington and the author of Beethoven after Napoleon: Political Romanticism in the Late Works (UC Press).

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