Kofi Agawu is Professor of Music at Princeton University and an adjunct professor at the University of Ghana, Legon. He is also author of Representing African Music: Postcolonial Notes, Queries, Positions.

Kofi Agawu is widely known as one of the pioneers of musical semiotics. Now, in Music as Discourse, he offers a focused study that shows semiotics in action, engaging with a familiar and cherished repertory in a way that provides valuable insights to both scholar and student.

• Introduction ; PART I ; Theory ; 1. Music as Language ; 2. Criteria for Analysis I ; 3. Criteria for Analysis II ; 4. Bridges to Free Composition ; 5. Paradigmatic Analysis ; PART II ; Analyses ; 6. Liszt, Orpheus (1853-1854) ; 7. Brahms, Intermezzo in E Minor, op. 119, no. 2 (1893), and Symphony no. 1/ii (1872-1879) ; 8. Mahler, Symphony no. 9/i (1908-1909) ; 9. Beethoven, String Quartet, op. 130/i (1825-1826), and Stravinsky, Symphonies of Wind Instruments (1920) ; Epilogue ; Bibliography ; Index

Kofi Agawu is Professor of Music at Princeton University and an adjunct professor at the University of Ghana, Legon. He is also author of Representing African Music: Postcolonial Notes, Queries, Positions.

Kofi Agawu is widely known as one of the pioneers of musical semiotics. Now, in Music as Discourse, he offers a focused study that shows semiotics in action, engaging with a familiar and cherished repertory in a way that provides valuable insights to both scholar and student.

• Introduction ; PART I ; Theory ; 1. Music as Language ; 2. Criteria for Analysis I ; 3. Criteria for Analysis II ; 4. Bridges to Free Composition ; 5. Paradigmatic Analysis ; PART II ; Analyses ; 6. Liszt, Orpheus (1853-1854) ; 7. Brahms, Intermezzo in E Minor, op. 119, no. 2 (1893), and Symphony no. 1/ii (1872-1879) ; 8. Mahler, Symphony no. 9/i (1908-1909) ; 9. Beethoven, String Quartet, op. 130/i (1825-1826), and Stravinsky, Symphonies of Wind Instruments (1920) ; Epilogue ; Bibliography ; Index

Kofi Agawu is Professor of Music at Princeton University and an adjunct professor at the University of Ghana, Legon. He is also author of Representing African Music: Postcolonial Notes, Queries, Positions.

Kofi Agawu is widely known as one of the pioneers of musical semiotics. Now, in Music as Discourse, he offers a focused study that shows semiotics in action, engaging with a familiar and cherished repertory in a way that provides valuable insights to both scholar and student.

• Introduction ; PART I ; Theory ; 1. Music as Language ; 2. Criteria for Analysis I ; 3. Criteria for Analysis II ; 4. Bridges to Free Composition ; 5. Paradigmatic Analysis ; PART II ; Analyses ; 6. Liszt, Orpheus (1853-1854) ; 7. Brahms, Intermezzo in E Minor, op. 119, no. 2 (1893), and Symphony no. 1/ii (1872-1879) ; 8. Mahler, Symphony no. 9/i (1908-1909) ; 9. Beethoven, String Quartet, op. 130/i (1825-1826), and Stravinsky, Symphonies of Wind Instruments (1920) ; Epilogue ; Bibliography ; Index