topic theory, musical narrative, musical-rhetorical figures, musical form, Mozart, piano concerto

Topic theory has uncovered an extensive ‘thesaurus of characteristic figures’ (Ratner), which should be consulted by any musician or listener who aspires for stylistic competence appropriate to the repertoire at hand. However, this thesaurus should not be used simplistically (for ‘spotting topics’ and mechanically linking conventional signifiers to ready-made signifieds).One of the most intriguing questions concerns the ‘logic’ underpinning the succession of topics in a classical sonata or concerto (which may contain dozens of topical references). On a technical level, topics intersect with formal functions within a more or less predictable formal design (Caplin, Hepokoski & Darcy). Hermeneutically speaking, topics may be associated with the oppositional forces of order and transgression, the fundamental ingredients of a narrative unfolding in time (Almén).Significant advancements have already been seen in this area. Robert Hatten (Musical meaning in Beethoven) has described various ‘expressive genres’ (such as ‘tragic to triumphant’) and ‘topical modes’ (military, pastoral, comic etc.) capable of suggesting different ‘archetypal plots’. Byron Almén (A Theory of Musical Narrative) has shown the manifestation of four ‘narrative archetypes’ in selected musical works. More recently, Hatten has discussed musical narrativity within the broader framework of his Theory of Virtual Agency.This chapter seeks to contribute to this discourse with a case study examining Mozart’s Piano concerto K. 488 (with references to other works where relevant), attempting to address questions such as the following: What kind of dramaturgical/narrative trajectory does emerge from the succession of musical topics in this piece? How is it related to the formal functions of individual parts of the sonata/ritornello form? How do rhetorical features (questions, interruptions, hesitations) contribute to the emerging sense of subjective agency? This analytical approach reflects the author's broader effort (as teacher and researcher) to put established methodologies in the service of an integrative model of music analysis, which is rigorous enough to test and advance the methodological tools at hand, and intuitive enough to be taught to musicians in music academies, who often find conventional formal analysis somewhat too abstract.

Topic theory has uncovered an extensive ‘thesaurus of characteristic figures’ (Ratner), which should be consulted by any musician or listener who aspires for stylistic competence appropriate to the repertoire at hand. However, this thesaurus should not be used simplistically (for ‘spotting topics’ and mechanically linking conventional signifiers to ready-made signifieds).One of the most intriguing questions concerns the ‘logic’ underpinning the succession of topics in a classical sonata or concerto (which may contain dozens of topical references). On a technical level, topics intersect with formal functions within a more or less predictable formal design (Caplin, Hepokoski & Darcy). Hermeneutically speaking, topics may be associated with the oppositional forces of order and transgression, the fundamental ingredients of a narrative unfolding in time (Almén).Significant advancements have already been seen in this area. Robert Hatten (Musical meaning in Beethoven) has described various ‘expressive genres’ (such as ‘tragic to triumphant’) and ‘topical modes’ (military, pastoral, comic etc.) capable of suggesting different ‘archetypal plots’. Byron Almén (A Theory of Musical Narrative) has shown the manifestation of four ‘narrative archetypes’ in selected musical works. More recently, Hatten has discussed musical narrativity within the broader framework of his Theory of Virtual Agency.This chapter seeks to contribute to this discourse with a case study examining Mozart’s Piano concerto K. 488 (with references to other works where relevant), attempting to address questions such as the following: What kind of dramaturgical/narrative trajectory does emerge from the succession of musical topics in this piece? How is it related to the formal functions of individual parts of the sonata/ritornello form? How do rhetorical features (questions, interruptions, hesitations) contribute to the emerging sense of subjective agency? This analytical approach reflects the author's broader effort (as teacher and researcher) to put established methodologies in the service of an integrative model of music analysis, which is rigorous enough to test and advance the methodological tools at hand, and intuitive enough to be taught to musicians in music academies, who often find conventional formal analysis somewhat too abstract.