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2 Johann Gottfried Herder, Werke, ii: Schriften zur Ästhetik und Literatur, 1767–1781, ed. Gunter E. Grimm (Frankfurt am Main, 1993), 171.Google Scholar

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7 See Heartz, Daniel, ‘Thomas Attwood's Lessons in Composition with Mozart’, Proceedings of the Royal Musical Association, 100 (1973-4), 175–83; Hans Heinrich Eggebrecht, Versuch über die Wiener Klassik, Beihefte zum Archiv für Musikwissenschaft, 12 (Wiesbaden, 1972), 24–5.Google Scholar

8 See Ratner, Leonard, Classic Music: Expression, Form, and Style (New York, 1980).Google Scholar

9 See Allanbrook, Wye Jamison, Rhythmic Gesture in Mozart: ‘Le nozze di Figaro’ and ‘Don Giovanni‘ (Chicago, 1983); V. Kofi Agawu, Playing with Signs: A Semiotic Interpretation of Classic Music (Princeton, 1991).Google Scholar

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17 James Harris, Hermes, or a Philosophical Inquiry Concerning Language and Philosophical Grammar (London, 1751), 399.Google Scholar

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19 Nicolas Beauzée, ‘Langage’, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, ed. Jean le Rond d'Alembert and Denis Diderot, ix (Stuttgart and Bad Cannstatt, 1967), 242–3 (p. 242).Google Scholar

20 Claude Favre de Vaugles, La préface des ‘Remarques sur la langue françoise’ (1646), ed. Zygmont Marzys (Geneva, 1984), 50. As Rémy Saisselin has explained, ‘It is through the notion of decorum that the aesthetic and the ethical join or meet in the ancien régime, and one may say that bienséance in the realm of social behavior is nothing less than the principle of imitation outside the realm of art': The Rule of Reason and the Ruses of the Heart: A Philosophical Dictionary of Classical French Criticism, Critics, and Aesthetic Issues (Cleveland, 1970), 48.Google Scholar

21 See Howells, Wilbur Samuel, Eighteenth-Century British Logic and Rhetoric (Princeton, 1971), 144–256.Google Scholar

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23 Alan Tyson, Mozart: Studies of the Autograph Scores (Cambridge, MA, 1987), 19, 153–6. The autograph, which vanished during World War II, resurfaced in the Biblioteka Jagiellońska, Cracow after the publication of the NMA (1975). Mozart had actually used the interlocking-fourth motive earlier in Idomeneo (1781) for the gavotte of the Cretan women, a theme he later recycled in the finale of the Concerto in C, K.503. The chronological proximity of K.427 and K.449, however, together with the Fuxian quality of the concerto theme, make the Cum sancto spiritu the likelier source.Google Scholar

24 See Irving, John, Mozart's Piano Concertos (Burlington, VT, 2003), 79–80. On the importance of variation in the finale of K.449, see Rosen, Charles, The Classical Style: Haydn, Mozart, and Beethoven (New York, 1972), 219; David Grayson, Mozart: Piano Concerto no. 20 in D minor, K.466, and Piano Concerto no. 21 in C major, K.467 (Cambridge, 1998), 73.Google Scholar

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27 See Rosen, The Classical Style, 120.Google Scholar

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29 Wye Jamison Allanbrook, ‘Comic Issues in Mozart's Piano Concertos’, Mozart's Piano Concertos, ed. Zaslaw, 75–105 (p. 82).Google Scholar

30 See Hatten, Robert, Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation (Bloomington, 1994).Google Scholar

31 See Bonds, Wordless Rhetoric, 90–118.Google Scholar

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34 Giambattista Vico, The First New Science, trans. Leon Pompa (Cambridge, 2002), 235–6.Google Scholar

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36 Ibid., 175.Google Scholar

37 Ibid., 205 (translation emended).Google Scholar

38 Johann Gottfried Herder, Werke, i: Sturm und Drang, ed. Wolfgang Pross (Munich, 1984), 9–61 (p. 58).Google Scholar

39 Ibid., 65–210 (p. 194).Google Scholar

40 Condillac, Oeuvres philosophiques, i, 80. For a discussion of Condillac's influence on Herder, see Aarsleff, From Locke to Saussure, 210–24; Jörn Stückenrath, ‘Der junge Herder als Sprach- und Literaturtheoretiker – ein Erbe des französischen Aufklärers Condillac?‘, Sturm und Drang: Ein literaturwissenschaftliches Studienbuch, ed. Walter Hinck (Kronberg, 1978), 81–96.Google Scholar

41 Condillac, Oeuvres philosophiques, 604–5. His Traité des systêmes (1749) ends with a vision of the dialectical equilibrium between poetry and prose: ‘The imagination should furnish the philosopher with grace without taking anything away from precision, and analysis should give precision to the poet without taking away any grace’ (Oeuvres philosophiques, 205).Google Scholar

42 Jean-Jacques Rousseau and Johann Gottfried Herder, On the Origin of Language: Two Essays, trans. John H. Moran and Alexander Gode (Chicago, 1966), 12.Google Scholar

43 The Early Writings of Adam Smith, ed. J. Ralph Lindgren (New York, 1967), 248–9.Google Scholar

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46 Ibid., 430–1.Google Scholar

47 Thomas Bauman, W. A. Mozart: ‘Die Entführung aus dem Serail‘ (Cambridge, 1987), 52. On the genesis of the quartet, see pp. 21, 50–2.Google Scholar

48 Matthew Head, Orientalism, Masquerade and Mozart's Turkish Music, Royal Musical Association Monographs, 9 (London, 2000), 3.Google Scholar

49 See Bauman, W. A. Mozart: ‘Die Entführung’, 12–17; and Mozart's letter of 26 September 1781, The Letters of Mozart and his Family, trans. Emily Anderson (London, 1985), 768–70.Google Scholar

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51 Allanbrook, Rhythmic Gesture in Mozart, 171.Google Scholar

52 Allanbrook, Rhythmic Gesture in Mozart, 82.Google Scholar

53 Daniel Heartz discusses this opposition in Mozart's Operas, ed. Thomas Bauman (Berkeley and Los Angeles, 1990), 145–6.Google Scholar

54 In Classical rhetoric the loci topici are not subject matter but simply strategies for finding arguments, such as ex definitione, ex partes generibus or ex nomine. This is the sense in which the eighteenth-century music theorists Heinichen, Mattheson and Forkel use the term. Dyck provides a thorough bibliography on the topics, especially in German Baroque rhetoric, in Ticht-Kunst, 174–6. Actually, when Ratner set forth his theory of Classical semantics he mentioned neither topics nor rhetoric, but simply referred to ‘types and styles’: see Music: The Listener's Art (New York, 1957), 164–76. Ratner first introduced the term ‘topic’ in the second edition of the textbook (1966).Google Scholar

55 Ferdinand de Saussure, A Course in General Linguistics, ed. Charles Bally and Albert Sechehaye, in collaboration with Albert Riedlinger, trans. Wade Baskin (New York, 1966), 120.Google Scholar

56 Agawu, Playing with Signs, 128.Google Scholar

57 Saussure, A Course in General Linguistics, 113.Google Scholar

58 A musical trope, Hatten argues, ‘is derived from already established correlations that are brought together in a single functional location or process, where their contradiction provokes an emergent interpretation’. Musical Meaning in Beethoven, 172.Google Scholar

59 Hatten, Musical Meaning in Beethoven, 118, 159–60. The term ‘functive’ comes from Umberto Eco, who explains that ‘a sign-function is realized when two functives (expression and content) enter into a mutual correlation’. A Theory of Semiotics (Bloomington, 1976), 49.Google Scholar

60 The ballroom scene from Don Giovanni demonstrates both mechanisms of topical ‘troping’. The triple minuet and duple contredanse combine syntagmatically, at the level of the phrase and period. The simple minuet and compound teutsche, on the other hand, combine paradigmatically, as simultaneous duple and triple diminutions of the beat.Google Scholar

61 Susan McClary, ‘A Musical Dialectic from the Enlightenment: Mozart's Piano Concerto in G Major, K.453, Movement 2‘, Cultural Critique, 4 (1986), 129–69; Norbert Elias, Mozart: Portrait of a Genius, trans. Edmund Jephcott (Berkeley and Los Angeles, 1993).Google Scholar

62 Julia Kristeva, Revolution in Poetic Language, trans. Margaret Waller (New York, 1984), 59.Google Scholar

63 Ibid., 191.Google Scholar

64 Fredric Jameson, The Prison-House of Language: A Critical Account of Structuralism and Russian Formalism (Princeton, 1972), 214–16.Google Scholar