ABSTRACT

It is obvious that so-called topic theory has, in recent years, achieved a central role in studies of musical style and aesthetics. In most conservatories, young music students do not like music theory and try to get through those classes with minimum effort. The reason is that traditional music theory teaching has not paid attention to how theory has an impact on musical praxis, performance. Musical form is understood as a collection of quite abstract ideas. In this respect, one has to admit that the introduction of topics to music analysis means that the whole rich realm of musical meaning or signification is allowed to enter the field of absolute music. In a situation where such theories as set theory, Schenkerian analysis, cognitive doctrines and so forth dominate, this has meant a rather radical step and paradigmatic shift.