...Daphne Tan Ernst Kurth's writings on musical form, while celebrated by many scholars, have been subject to differing interpretations and outright dismissal. Bruckner (1925), his best-known exposition on form, is daunting in scope and idiosyncratic in tone. A more sizable challenge, however, is...

...Gordon Sly 2001 © Yale University, New Haven, Connecticut 06520 2001 SCHUBERT’S INNOVATIONS IN SONATA FORM: COMPOSITIONAL LOGIC AND STRUCTURAL INTERPRETATION* Gordon Sly In his 1927 monograph “Franz Schubert,” Donald...

...Trevor de Clercq In this article I present empirical work that investigates what, if any, harmonic characteristics are found to typically associate with standard form categories in rock music. Specifically, I use statistical analysis to compare and contrast the harmonic traits of verse, chorus, and...

... and Haydn's Operas.” In Joseph Haydn: Bericht über den Internationalen Joseph Haydn Kongress, Wien, Hofburg , 5.-12 . September 1982. Munich: G. Henle Verlag, 91 -100. CHROMATICISM, FORM, AND EXPRESSION IN HAYDN’S STRING QUARTET OP. 76, NO. 6...

...Lauri Suurpää This study examines interactions among form, Schenkerian voice-leading structure, and certain dramatic features in two Mozart expositions: the second movement of the G-minor symphony, K. 550, and the opening movement of the G-minor string quintet, K. 516. The analyses frequently...

...Steven Rings David Lewin Generalized Musical Intervals and Transformations Oxford University Press, 2007: xxxi+258 pp. ($49.95 cloth); David Lewin Musical Form and Transformation: Four Analytic Essays Oxford University Press, 2007: xiv+168 pp. ($45.00 cloth); David Lewin Studies...

..., Design and Rhetoric appeared in 2010. Schmalfeldt Janet In the Process of Becoming: Analytical and Philosophical Perspectives on Form in Early Nineteenth-Century Music . Oxford University Press , 2011 : xi+333 pp. ( $49.95 cloth ) © 2013 by Yale University 2013 Works Cited...

... by Schneider’s contemporaries and direct predecessors shows that the Solo-Recapitulation trajectory does not appear in these pieces, suggesting that Schneider may have pioneered the approach. Copyright © 2019 by Yale University 2019 jazz Maria Schneider form corpus Works Cited...

...Heather Platt Peter H. Smith Expressive Forms in Brahms's Instrumental Music: Structure and Meaning in His Werther Quartet Indiana University Press, 2005: ix+325 pp. ($49.95 cloth) 2004 © Yale University, New Haven, Connecticut 06520 2004 Agawu, Kofi. 1997 . “Analyzing Music under...

...Patrick Wood Uribe It is to A. B. Marx that we owe the first extended discussion of sonata form and a conception of it that has survived in classrooms and rehearsal halls to this day. At the same time, Marx’s Sonatenform and his treatment of it are beset with what seem to be serious flaws, chief...

...Peter H. Smith This article explores musical and theoretical issues raised by a particular type of parallel form that has been interpreted in two strikingly contradictory ways—either as a birotational type 2 sonata form or as a sonata form with a reversed recapitulation. Insights drawn from...

...Peter H. Smith Schumann's adaptations of eighteenth-century instrumental forms have long been regarded as problematic, as have the works of his late style period of the 1850s. The Cello Concerto op. 129 (composed 1850, published 1854) is a late work based on classical models that has earned a place...

...Yoel Greenberg This article investigates the sources of the recapitulation using statistical methods. The recapitulation has traditionally been viewed as an expansion of small ternary forms, resulting in a top-down approach, whereby the repeat of expositional material is explained in rotational...

...René Rusch Schubert’s Drei Klavierstücke , D. 946 (c. 1828, pub. 1868), raise several questions regarding their compositional genesis and editorial processes. Most peculiar is Schubert’s omission of an entire C section in A♭ major of what was originally to be a five-part rondo form (A–B–A–C–A) in...

...Peter H. Smith Commentators have traditionally judged Schumann’s sonata forms negatively, despite recent positive reassessments. In the response to Schumann’s expositions, even two of his most insightful advocates, Linda Correll Roesner and Anthony Newcomb, portray Schumann’s designs as...

... translations by Schoenberg himself, members of his circle, and later commentators, the author examines liquidation alongside “dissolution” ( Auflösung ), “obligations,” and “obligatory” forms. While the received interpretation of the term emphasizes the elimination or removal of features, the sources reveal a...

...Christopher Brody All theories of structure in tonal music must balance the competing claims to priority of multiple musical parameters. Most prominently, the study of tonal form has long concerned itself with how to reconcile the at times contradictory demands of thematic design and tonal...

... are demonstrated by attributing the melodic and harmonic structures of complete pieces— Fratres, Passio , and The Beatitudes —to the interaction of a very small set of transformations. This representation reveals similarities of form as well as of process among them. It also shows how Pärt's signature...

... movement of the Second Symphony op. 73, and the last two movements of the Second String Quartet op. 51/2. These analyses also suggest correspondences in these movements between metric relationships and relationships of key, harmony, and form. Yale University 2009 Scott Murphy is an Associate...

... then elaborates on the relation between those key depictions and multiaggregate cycles. Ultimately, it argues that augmented and diminished triads—the harmonies disjunctive to the alternating major and minor thirds that generate Hauptmann's representations—form the primary basis for Bartók's...