Abstract
[Excerpt] Musicologists and theorists that predate a formal theory of topics have observed the humor in Beethoven's Piano Sona in E-Flat, Opus 31, no. 3. For instance, Maynard Solomon (1998; 140) describes this sonata as "cheerful and witty," noting the inclusion of both scherzo and minuet in the absence of a slow movement. Many other readings, both casual and analytical, make mention of the comic elements but notably stop short of articulating how? or why? My intention with this paper is to analyze topical interactions within locally comic events in order to reveal various comic mechanisms.