...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...

...Jonathan Guez Despite differences in critical alignment, epistemological underpinnings, and reportorial coverage, studies of sonata forms nevertheless tend to share one feature: they devote the least amount of space to recapitulations. Two presuppositions might explain this neglect: (1...

... modifies the prototypical big-band arrangement by merging the solo section with the ensemble feature, resulting in a trademark “Solo-Recapitulation trajectory,” which creates a deep-level structure comprising three “Spaces.” “Space division criteria” capture how broad expectations for jazz performance...

...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...

...Roman Ivanovitch The article examines a group of closing gestures in Mozart's piano concertos, passages of soloistic virtuosity just before the last tuttis of the exposition and recapitulation. Serving as grand cadential clinchers and clothed in conventional figuration, these spots—sometimes called...

... is particularly striking. 119 Ample evidence of a remarkably independent nature is manifested in Schubert’s earliest efforts. Most conspicuous, perhaps, are the tonal plans that organize the recapitulations of these early pieces: one beginning...

... continuity, as suggested by the brackets (e.g., the initial c2-b1 becoming d2-c2-b1, becoming d3-b2 of the second subject), is one aspect of this com- pactness. There is no time, as it were, to wait for the recapitulation to begin on the I: the motivic return starts off before the development has ended...

... of Concerto First-Movement Form.” Journal of the American Musicological Society 27 : 25 –60. ______. 1986 . “Formal Design in C. P. E. Bach's Harpsichord Concertos.” Studi musicali 15 / 2 : 257 –97. ______. 1992 . “Patterns of Recapitulation in the First Movements of Mozart's Piano Concertos...

... theorizes a practice in which a striking thematic event in the develop- ment knocks the conventional formal trajectory off its rails. A recognizable exposition is never answered by a thematically parallel recapitulation as a consequence of this developmental intervention. We certainly could benefit from...

... include the two state- ments of the B material (mm. 16–25 and 60–69), the recapitulation of the consequent phrase following a “false” reprise of the antecedent (m. 50), and the brief coda (m. 70). In order to understand the function of the B material, it is necessary to recognize its continued focus...

... exhibited by the large-scale tonal and thematic structures of the ex- positions and recapitulations in the first and last movements. Although both movements are in sonata form and have expositions that modulate from C minor to E≤ major, they are structured in strikingly different ways. Smith scrutinizes...

... Example 2. Detail of bars 37–40 movement that warrant such an interpretation. In the exposition the “sec- ond theme” initially appears in the dominant without being properly toni- cized. More significantly, the movement deviates from the normal pro- cedure of sonata form in the recapitulation...

... Example 2. Detail of bars 37–40 movement that warrant such an interpretation. In the exposition the “sec- ond theme” initially appears in the dominant without being properly toni- cized. More significantly, the movement deviates from the normal pro- cedure of sonata form in the recapitulation...

... context in m. 24. Most impressive, the recapitulation begins with the same♭ E isolated in the cello, but instead of being 5ˆ, as in the exposition, in the recapitulation it turns out to be 3ˆ of C minor. David Kopp (2002) has shown how such ♯ common-tone links...

... demonstrate that the oc- tave line lends itself to partitionings and harmonizations that can be adapted to several design schemes. The Largo and the two French Suite analyses suggest that the octave Ursatz is particularly well suited to major key movements which lack a full-scale tonic recapitulation...

... divi- sion from m. 60 (with the closure on V) through m. 95 (IV)—or, even more convincing, from m. 67 (vi) to m. 95 (IV). The reappearance of the first phrase of the main theme in the major mode suggests the possibility of an unconventional recapitulation initi- ated at m. 95 in the key...

..., Schumann abandons that objective characteristic drawn from eighteenth- century models and chooses to intertwine A and C in a tonal colloquy that resists closure, in the manner of his esoteric style. Development and Recapitulation: Some Preliminaries...

... to the recapitulation (mm. 135–91). The begin- ning of the recapitulation is tonally highly unstable. The end of the devel- opment would seem to prepare D minor as a key area but this key is never stabilized. A clear home tonic returns in m. 152 when the fourth and the last rotation begins.16 In the recapitulation...

..., analyzes formal 11 On the idea of this type of form and others as binary idiosyncrasies of the finale in relation to the Quartet’s over- variants, see Webster 1986. For references framed by the arching A/F pairing. She develops her interpretation of the concept of “mirror” or “reversed” recapitulation...

... Ł Ł Ł Example 4.  Invertible counterpoint in the recapitulation to Mozart, Piano Sonata in C major, K. 279, III, mm. 84–96 always adhered to.14 While we can all recall speeches in which the speaker embarks upon a tangent or insertion...