Haydn is known for his playful (mis)use of cadential formulas. Examining examples of this predilection and processes of cadential liquidation, this article develops a theory of the use of musical material. This entails a deconstruction of the Adornian dialectic between generic convention and particular expression and—following Jacques Derrida’s notion of exappropriation—between proper and improper, and propriety and impropriety.
Research Article| April 01 2018
Journal of Music Theory (2018) 62 (1): 119–144.
Naomi Waltham-Smith; Haydn’s Impropriety. Journal of Music Theory 1 April 2018; 62 (1): 119–144. doi: https://doi.org/10.1215/00222909-4450660
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