{"id":408,"date":"2023-06-20T16:52:38","date_gmt":"2023-06-20T16:52:38","guid":{"rendered":"https:\/\/topicos.uva.es\/?page_id=408"},"modified":"2025-07-22T09:32:20","modified_gmt":"2025-07-22T09:32:20","slug":"bibliography","status":"publish","type":"page","link":"https:\/\/topicos.uva.es\/en\/bibliography\/","title":{"rendered":"Bibliography"},"content":{"rendered":"\n

Agawu, Kofi<\/strong>, Playing with Signs: A Semiotic Interpretation of Classical Music. <\/em>Princeton: Princeton University Press, 1991.<\/p>\n\n\n\n

_____ Music as Discourse. Semiotic Adventures in Romantic Music<\/em>. Oxford: Oxford University Press, 2009.<\/p>\n\n\n\n

_____ \u00abLa th\u00e9orie des topiques: bilan, critiques et perspectives\u00bb. In Narratologie musicale. Topiques, th\u00e9ories et strat\u00e9gies analytiques<\/em>, edited by M\u00e1rta Grab\u00f3cz, 43-72. Par\u00eds: Hermann, 2021.<\/p>\n\n\n\n

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Allanbrook, Wye Jamison<\/strong>, Rhythmic Gesture in Mozart: Le nozze di Figaro and Don Giovanni. <\/em>Chicago: University of Chicago Press, 1983.<\/p>\n\n\n\n

_____ \u00abTwo Threads through the Labyrinth: Topic and Process in the First Movements of K. 332 and K. 333\u00bb. In Convention in Eighteenth- and Nineteenth-Century Music<\/em>, edited by Wye J. Allanbrook et al., 125-171. Stuyvesant, Nueva York: Pendragon Press, 1992.<\/p>\n\n\n\n

_____ The Secular Commedia. Comic M\u00edmesis in Late Eighteenth Century Music<\/em>, edited by Mary Ann Smart & Richard Taruskin. Oackland: University of California Press, 2014.<\/p>\n\n\n\n

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Caplin, William E.<\/strong>, Classical Form. A Theory of Formal Functions for The Instrumental Music of Haydn, Mozart and Beethoven<\/em>. Nueva York & Oxford: Oxford University Press, 1998.<\/p>\n\n\n\n

_____ \u00abOn the Relation of Musical Topoi<\/em> to Formal Function\u201d, Eighteenth-Century Music<\/em> 2, n.\u00ba 1 (2005): 113-124.<\/p>\n\n\n\n

_____ \u00abTopics on Formal Functions: The Case of the Lament\u00bb. In The Oxford Handbook of Topic Theory<\/em>, edited by Danuta Mirka, 415-452. Oxford: Oxford University Press, 2014.<\/p>\n\n\n\n

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Carri\u00f3n Mart\u00edn, Elvira<\/strong>, \u00abLa danza en Espa\u00f1a en la segunda mitad del siglo XVIII: el boler<\/em>o\u00bb. PhD Thesis. Universidad de Murcia, 2017. Access: 2022 February the 10th, https:\/\/www.tdx.cat\/bitstream\/handle\/10803\/405904\/TECM.pdf?sequence=1&isAllowed=y<\/a><\/p>\n\n\n\n

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Day-O\u2019Conell, Sarah<\/strong>. \u00abThe singing Style\u00bb. InThe Oxford Handbook of Topic Theory<\/em>, edited by Danuta Mirka, 238-258. Oxford: Oxford University Press, 2014.<\/p>\n\n\n\n

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Grab\u00f3cz, M\u00e1rta<\/strong>, ed. Narratologie musicale. Topiques, th\u00e9ories et strat\u00e9gies analytiques. <\/em>Par\u00eds: Hermann, 2021.<\/p>\n\n\n\n

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Haringer, Andrew<\/strong>. \u00abHunt, Military and Pastoral Topics\u00bb. In The Oxford Handbook of Topic Theory<\/em>, edited by Danuta Mirka, 194-213. Oxford: Oxford University Press, 2014.<\/p>\n\n\n\n

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Hatten, Robert S.<\/strong>, Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation<\/em>. Bloomington: Indiana University Press, 1994.<\/p>\n\n\n\n

_____ Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert. <\/em>Bloomington: Indiana University Press, 2004.<\/p>\n\n\n\n

_____\u00abThe Troping of Topics in Mozart\u2019s Instrumental Works\u00bb. In The Oxford Handbook of Topic Theory<\/em>, edited by Danuta Mirka, 514-536. Oxford: Oxford University Press, 2014.<\/p>\n\n\n\n

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Head, Matthew<\/strong>. \u00abFantas\u00eda and Sensibility\u00bb. In The Oxford Handbook of Topic Theory<\/em>, edited by Danuta Mirka, 259-278. Oxford: Oxford University Press, 2014.<\/p>\n\n\n\n

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L\u00f3pez-Cano, Rub\u00e9n<\/strong>. \u00abM\u00e1s all\u00e1 de la intertextualidad. T\u00f3picos musicales, esquemas narrativos, iron\u00eda y cinismo en la hibridaci\u00f3n musical de la era global\u00bb, Nasarre<\/em>, 21, 1 (2005): 59-76.<\/p>\n\n\n\n

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McClelland, Clive<\/strong>, Ombra: Supernatural Music in the Eighteenth Century<\/em>. Lanham: Lexington Books, 2012.<\/p>\n\n\n\n

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McClelland, Clive<\/strong>. \u00abOmbra and Tempesta\u00bb. In The Oxford Handbook of Topic Theory<\/em>, edited by Danuta Mirka, 279-300. Oxford: Oxford University Press, 2014.<\/p>\n\n\n\n

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McClelland, Clive<\/strong>, Tempesta: Stormy Music in the Eighteenth Century<\/em>. Lanham: Lexington Books, 2017.<\/p>\n\n\n\n

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McKay, Nicholas<\/strong>, \u00abOn Topics Today\u00bb, Zeitschrift der Gesellschaft f\u00fcr Musiktheorie,<\/em> 4, n.\u00ba 1 (2007): 1-30. Frech translation: \u00abO\u00f9 en est la Th\u00e9orie des topiques aujourd\u2019hui?\u00bb, Narratologie musicale. Topiques, th\u00e9ories et strat\u00e9gies analytiques<\/em>, edited by M\u00e1rta Grab\u00f3cz, 73-105. Par\u00eds: Hermann, 2021.<\/p>\n\n\n\n

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Mirka, Danuta<\/strong>, ed. The Oxford Handbook of Topic Theory<\/em>. Oxford: Oxford University Press, 2014.<\/p>\n\n\n\n

_____ \u00abIntroduction\u00bb. In The Oxford Handbook of Topic Theory<\/em>, edited by Danuta Mirka, 1-57. Oxford: Oxford University Press, 2014.<\/p>\n\n\n\n

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Monelle, Raymond<\/strong>, The Sense of Music<\/em>. Semiotic Essays. <\/em>Princeton: Princeton University Press, 2000.<\/p>\n\n\n\n

_____ The Musical Topic: Hunt, Military and Pastoral.<\/em> Bloomington: Indiana University Press, 2006.<\/p>\n\n\n\n

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Pedrero-Encabo, \u00c1gueda<\/strong>, \u00abEcos de la Arcadia: t\u00f3picos en la Sonata en mi menor<\/em> de Blasco de Nebra (1750-1784)\u00bb. In: Musicolog\u00eda en transici\u00f3n, <\/em>edited by Javier Mar\u00edn-L\u00f3pez, Ascensi\u00f3n Mazuela-Anguita & Juan Jos\u00e9 Pastor Com\u00edn. Madrid: Sociedad Espa\u00f1ola de Musicolog\u00eda, in press.<\/p>\n\n\n\n

_____ \u00abUna aproximaci\u00f3n a la significaci\u00f3n de la sonata a trav\u00e9s de la interacci\u00f3n de schemata<\/em> y t\u00f3picos\u00bb, edited by Mar\u00eda Nagore & Carlos Villar-taboada, Quodlibet<\/em> (2023), in press.<\/p>\n\n\n\n

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Ratner, Leonard<\/strong>, Classic Music:Expression, Form and Style<\/em>. Nueva York: Schirmer, 1980.<\/p>\n\n\n\n

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Rosand, Ellen<\/strong>, \u00abThe Descending Tetrachord: An Emblem of Lament\u00bb, Musical Quarterly <\/em>65 (1979): 346\u2013359.<\/p>\n\n\n\n

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Rumph, Stephen<\/strong>, \u00abTopical Figurae: The Double Articulacion of Topics\u00bb. In The Oxford Handbook of Topic Theory<\/em>, edited by Danuta Mirka, 493-513. Oxford: Oxford University Press, 2014.<\/p>\n\n\n\n

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S\u00e1nchez-Kisielewska<\/strong>, Olga, \u00abInteractions between Topics and Schemata: The case of the Sacred Romanesca\u00bb, Theory and Practice <\/em>41 (2016): 47\u201380.<\/p>\n\n\n\n

_____ \u00abThe Romanesca as a Spiritual Sign\u00bb. In Singing in Sings: New Semiotic Explorations of Opera, <\/em>edited by Gregory J. Decker & Matthew R. Shaftel, 163-191. Cambridge: Cambridge University Press, 2020.<\/p>\n\n\n\n

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Sutcliffe, W. Dean<\/strong>, \u00abTopics in Chamber Music\u00bb. In The Oxford Handbook of Topic Theory<\/em>, edited by Danuta Mirka, 118-140. Oxford: Oxford University Press, 2014.<\/p>\n\n\n\n

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Villar-Taboada, Carlos<\/strong>, \u00abDel significado a la identidad: estrategias compositivas y t\u00f3picos en Jos\u00e9 Luis Turina\u00bb. In M\u00fasica y construcci\u00f3n de identidades: po\u00e9ticas, di\u00e1logos y utop\u00edas en Latinoam\u00e9rica y Espa\u00f1a, <\/em>edited by Victoria Eli & Elena Torres, 261-281. Madrid: Sociedad Espa\u00f1ola de Musicolog\u00eda, 2018.<\/p>\n\n\n\n

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Yozhiyaka Almeida, \u00c1gata & Di\u00f3snio Machado Neto<\/strong>, \u00abIntera\u00e7\u00e3o entre t\u00f3picas musicais e o esquema harm\u00f4nico le-sol-fi-sol na Missa de R\u00e9quiem<\/em> (1816) de Marcos Portugal\u00bb, M\u00fasica Hodie<\/em> 20 (2020): 1-31.<\/p>\n","protected":false},"excerpt":{"rendered":"

Agawu, Kofi, Playing with Signs: A Semiotic Interpretation of Classical Music. Princeton: Princeton University Press, 1991. _____ Music as Discourse. Semiotic Adventures in Romantic Music. Oxford: Oxford University Press, 2009. _____ \u00abLa th\u00e9orie des topiques: bilan, critiques et perspectives\u00bb. In Narratologie musicale. Topiques, th\u00e9ories et strat\u00e9gies analytiques, edited by M\u00e1rta Grab\u00f3cz, 43-72. Par\u00eds: Hermann, 2021. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-408","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nBibliography - From emotion to meaning<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/topicos.uva.es\/en\/bibliography\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bibliography - From emotion to meaning\" \/>\n<meta property=\"og:description\" content=\"Agawu, Kofi, Playing with Signs: A Semiotic Interpretation of Classical Music. Princeton: Princeton University Press, 1991. _____ Music as Discourse. Semiotic Adventures in Romantic Music. 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