...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...

... undergirds Caplin s notion that P manifests beginning function and S ending function in the classical style. Vande Moor- tele s concept of a strong second theme, and the potential for such a strong S to initiate a reversed recapitulation that is, for S to assume beginning rather than ending function depends...

... and its Classical Precedents: Sonata Expositions of Schubert and Brahms .” Intégral 23 : 65 – 119 . Jackson Timothy L. 1996 . “ The Tragic Reversed Recapitulation in the German Classical Tradition .” Journal of Music Theory 40/1 : 61 – 111 . Jakobson Roman . [1935] 1971...

... into the recapitulation. Score reductions of these passages appear in Example 17. In both locations, Brahms reinterprets D as the dissonant entity. Thus, just as in the F≥ theme, C≥ moves to the forefront in a reversal of the neighbor rela- tionship in the original D-major context...

... a more-or-less complete recapitulation of the first reprise. Type V follows that binary pattern in which the entire second reprise constitutes a varied repetition of the first, but with a reversed tonal plan and an internal, pos- sibly developmental expansion. In Type V, the second solo begins...

..., 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...

... 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...

... goal for the recapitulation. Is it overeager? 220 J O U R N A L o f M U S I C T H E O R Y 20 The theoretical community has focused intensely on the notion of recapitulatory wrong key without identify­ ing its condition in this behavior. My position here may thus be seen as a figure­ground reversal...

...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...

... structure.6 Rather, on this point, I agree with Larson that “while it is sometimes true that ‘consonant harmonies or pitches with consonant support have greater structural weight than dissonant harmonies or pitches with dissonant sup- port,’ the reverse is also often true.”7 This in fact is the position...

..., it is often “reduced away.”8 Example 1b shows the ultimate enlargement of the <E–C–A> string in the recapitulation (mm. 49–64). This idea—which was unsup- ported in the opening, and partially supported and enlarged soon after— is now supported, embellished, and tonicized in a five-measure recompo- sition...

... 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...

..., as constructed partly by himself and even more by his reception, establishes the imperative to write music in such a way that the writing discards something of the past and demands something of the future. The question reverses itself into a mantra...

..., “In a strange reversal of Goethe’s famous dictum, Schumann’s late orchestral music makes Romanticism healthy, and Classicism sick.” Or as John Daverio (2007, 272) ironically put it, “If lateness implies curtailment, then it is pre- 1 As late as 1963 Dmitri Shostakovich felt...

... freie Satz: “In the art of music, as in life, metaphor. motion toward the goal encounters obstacles, reverses, dis- 7 This quotation and the material that follows was culled appointments, and involves great distances, detours, expan...

...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...

... . In this context 5ˆ– 6ˆ♭ in III emerges only briefly in chromatic melodic ascents,♭ but the memory of♭ this♭ moment is not lost and the C returns to precipitate a sudden and last-minute disruption within C-space in the♭ recapitulation (Exam- ple 3). 5 This time it forms...

... for the even measures. The final line of the verse, however, contains a surprising reversal of this pattern, allow- ing the tonic chord to be unfolded on the left hand’s downbeats, support- ing the b≤1 primary tone. That the first tonic arrival in the song falls after nineteen measures of music on the word...

... and fragment of that idea to the complete exclusion of transition and secondary-theme materials” (125), thus reversing the earlier hierarchy between theme and function: local form- functional ambiguities (e.g., “true recapitulation ⇒ false”; “Core IV ⇒ true retransition”) are now contained within...