@Article{          bourne2016-perceiving,
    author       = {Bourne, Janet},
    year         = {2016},
    title        = {Perceiving Irony in Music: The Problem in Beethoven's
                   String Quartets},
    abstract     = {Hatten (1994) writes that if musical passages are
                   “inappropriate to the context of the movement . . . an
                   ironic interpretation would be one way to reconcile that
                   inappropriateness as a compositional effect rather than a
                   flaw” (185). Is there something systematic that prompts
                   listeners to interpret musical “inappropriateness” as
                   ironic? Building upon Hatten's work, this article explores
                   how a listener might infer irony in Beethoven's music by
                   drawing on cognitive principles and analogies shared by
                   music and language. I create an analytical framework that
                   draws conditions from language psychologists' empirical
                   studies of verbal and situational irony (Colston 2001,
                   Lucariello 1994). The first condition is a violation of
                   expectations established through a norm or schema. I use
                   Caplin's (1998) theory of formal function, Gjerdingen's
                   (2007) schema theory, and Hepokoski and Darcy's (2006)
                   Sonata Theory to measure violation of expectation as
                   defined by Beethoven and his audience's shared stylistic
                   knowledge. Since listeners develop expectations in music
                   simply by listening (Meyer 1956), this paper incorporates
                   “common ground,” Clark's (1996) term for the
                   information, knowledge, and cultural norms that the
                   composer and listener share. The second condition is
                   blatantly failing to fulfill one or more of the
                   “maxims” defined by the linguist H.P. Grice (1975),
                   who argues that a person implicitly follows the maxims in
                   any “cooperative” conversation. I apply this framework
                   to analyze three Beethoven string quartet movements that
                   Hatten and others have described as “ironic”: op.
                   95/iv, op. 131/v, and op. 130/i. I close by discussing
                   implications for musical communication as a whole.
                   [ABSTRACT FROM AUTHOR]},
    doi          = {10.30535/mto.22.3.2},
    issn         = {1067-3040},
    journal      = {Music Theory Online},
    keywords     = {aesthetics,alla breve,coda,contradiction,discourse
                   marker,irony,literature,music
                   analysis,musical,pathos,philosophy,situational ethics},
    mendeley-tags= {music analysis},
    number       = {3},
    volume       = {22}
}

{"_id":"RvCp6AeBtwMYYEd7n","bibbaseid":"bourne-perceivingironyinmusictheprobleminbeethovensstringquartets-2016","authorIDs":[],"author_short":["Bourne, J."],"bibdata":{"bibtype":"article","type":"article","author":[{"propositions":[],"lastnames":["Bourne"],"firstnames":["Janet"],"suffixes":[]}],"year":"2016","title":"Perceiving Irony in Music: The Problem in Beethoven's String Quartets","abstract":"Hatten (1994) writes that if musical passages are “inappropriate to the context of the movement . . . an ironic interpretation would be one way to reconcile that inappropriateness as a compositional effect rather than a flaw” (185). Is there something systematic that prompts listeners to interpret musical “inappropriateness” as ironic? Building upon Hatten's work, this article explores how a listener might infer irony in Beethoven's music by drawing on cognitive principles and analogies shared by music and language. I create an analytical framework that draws conditions from language psychologists' empirical studies of verbal and situational irony (Colston 2001, Lucariello 1994). The first condition is a violation of expectations established through a norm or schema. I use Caplin's (1998) theory of formal function, Gjerdingen's (2007) schema theory, and Hepokoski and Darcy's (2006) Sonata Theory to measure violation of expectation as defined by Beethoven and his audience's shared stylistic knowledge. Since listeners develop expectations in music simply by listening (Meyer 1956), this paper incorporates “common ground,” Clark's (1996) term for the information, knowledge, and cultural norms that the composer and listener share. The second condition is blatantly failing to fulfill one or more of the “maxims” defined by the linguist H.P. Grice (1975), who argues that a person implicitly follows the maxims in any “cooperative” conversation. I apply this framework to analyze three Beethoven string quartet movements that Hatten and others have described as “ironic”: op. 95/iv, op. 131/v, and op. 130/i. I close by discussing implications for musical communication as a whole. [ABSTRACT FROM AUTHOR]","doi":"10.30535/mto.22.3.2","issn":"1067-3040","journal":"Music Theory Online","keywords":"aesthetics,alla breve,coda,contradiction,discourse marker,irony,literature,music analysis,musical,pathos,philosophy,situational ethics","mendeley-tags":"music analysis","number":"3","volume":"22","bibtex":"@Article{ bourne2016-perceiving,\n author = {Bourne, Janet},\n year = {2016},\n title = {Perceiving Irony in Music: The Problem in Beethoven's\n String Quartets},\n abstract = {Hatten (1994) writes that if musical passages are\n “inappropriate to the context of the movement . . . an\n ironic interpretation would be one way to reconcile that\n inappropriateness as a compositional effect rather than a\n flaw” (185). Is there something systematic that prompts\n listeners to interpret musical “inappropriateness” as\n ironic? Building upon Hatten's work, this article explores\n how a listener might infer irony in Beethoven's music by\n drawing on cognitive principles and analogies shared by\n music and language. I create an analytical framework that\n draws conditions from language psychologists' empirical\n studies of verbal and situational irony (Colston 2001,\n Lucariello 1994). The first condition is a violation of\n expectations established through a norm or schema. I use\n Caplin's (1998) theory of formal function, Gjerdingen's\n (2007) schema theory, and Hepokoski and Darcy's (2006)\n Sonata Theory to measure violation of expectation as\n defined by Beethoven and his audience's shared stylistic\n knowledge. Since listeners develop expectations in music\n simply by listening (Meyer 1956), this paper incorporates\n “common ground,” Clark's (1996) term for the\n information, knowledge, and cultural norms that the\n composer and listener share. The second condition is\n blatantly failing to fulfill one or more of the\n “maxims” defined by the linguist H.P. Grice (1975),\n who argues that a person implicitly follows the maxims in\n any “cooperative” conversation. I apply this framework\n to analyze three Beethoven string quartet movements that\n Hatten and others have described as “ironic”: op.\n 95/iv, op. 131/v, and op. 130/i. I close by discussing\n implications for musical communication as a whole.\n [ABSTRACT FROM AUTHOR]},\n doi = {10.30535/mto.22.3.2},\n issn = {1067-3040},\n journal = {Music Theory Online},\n keywords = {aesthetics,alla breve,coda,contradiction,discourse\n marker,irony,literature,music\n analysis,musical,pathos,philosophy,situational ethics},\n mendeley-tags= {music analysis},\n number = {3},\n volume = {22}\n}\n\n","author_short":["Bourne, J."],"key":"bourne2016-perceiving","id":"bourne2016-perceiving","bibbaseid":"bourne-perceivingironyinmusictheprobleminbeethovensstringquartets-2016","role":"author","urls":{},"keyword":["aesthetics","alla breve","coda","contradiction","discourse marker","irony","literature","music analysis","musical","pathos","philosophy","situational ethics"],"metadata":{"authorlinks":{}},"downloads":0},"bibtype":"article","biburl":"https://hmb.sampaio.me/bibliografia.bib.txt","creationDate":"2019-10-31T00:41:12.323Z","downloads":0,"keywords":["aesthetics","alla breve","coda","contradiction","discourse marker","irony","literature","music analysis","musical","pathos","philosophy","situational ethics"],"search_terms":["perceiving","irony","music","problem","beethoven","string","quartets","bourne"],"title":"Perceiving Irony in Music: The Problem in Beethoven's String Quartets","year":2016,"dataSources":["n6MFY2CscQLDpJ7nT"]}