... . “Staging the Virtuoso: Ritornello Procedure in Mozart, from Aria to Concerto.” In Zaslaw 1996, 149 –86. Forkel, Johann Nikolaus. 1778 . Musikalisch-kritisch Bibliothek , vol. 2 . Gotha: C.W. Ettinger. Facs. rpt. Hildesheim: G. Ohms, 1965. Forman, Denis. 1971 . Mozart's Concerto Form: The First...

... accelerates, so too does that of Balanchine's choreography. The passage following the climax shows Balanchine combining ideas from the previous ritornello as well as the opening ritornello statement. Finally, I show how the shapes made by the dancers' bodies in the third-movement climax (fifth position arms...

... but realizable as a three-voice canon, demonstrates the way in which the noises of shouting hunters and barking dogs overlap to give the effect of hocketing imitations much closer than the actual canonic time interval. Like many Italian cacce, Aposte messe has a separate ritornello, which Leach, like...

... Ritornello Scripts and Their Nineteenth-Century Revivals . Music Theory Spectrum 30/2 : 39 – 82 . Galeazzi Francesco . [1796] 2012 . Theoretical-Practical Elements of Music, Parts III and IV . Urbana : University of Illinois Press . Translation by Deborah Burton and Gregory W. Harwood...

... to block A, and practically all sec- a binary (ritornello-episode) scheme but describes it as “a tions other than A are considered as episodic material. monothematic rondo, for the episodes are, from the the- Paolo...

... . Galand Joel . 2008 . “ Some Eighteenth-Century Ritornello Scripts and Their Nineteenth-Century Revivals .” Music Theory Spectrum 30 , no. 2 : 239 – 82 . Galand Joel . 2015 . “ Some Schenkerian Implications for Sonata Theory .” Rivista di analisi e teoria musicale 21 , no. 2 : 153...

... � Ritornello segments � � Bars...

... in its initial context, the opening measures of the instrumental ritornello (Example 5a). The gesture appears first in m. 7, and then in m. 10 (as part of the answer) without any alteration beyond the being transposing into the dominant key.4 Right after...

..., the very selection of the sample represents a departure from the approaches of Rosen and LaRue, both of whom argued for an influence on sonata form of nonbinary forms such as ritornello and da capo forms. To support my decision, I cite the fact...

... dahl and Jackendoff 1983, Swain 1995, Dempster 1998, and and 251) mention only that the cadenza interrupts the final Patel 2003. ritornello; and James Hepokoski and Warren Darcy (2006 600–2) make only brief mention of the cadenza, arguing...

... happens in one of three places: (1) at the con- clusion of a scena, just before the primo tempo; (2) at the conclusion of a tempo di mezzo, just before the cabaletta; or (3) at the end of the ritornello that sepa- rates the two statements of a cabaletta or stretta...

... of the C-minor String Quartet, op. 51/1. 4 Thus, only the type 5 (concerto-ritornello) sonata is missing from the list—a design with its own peculiar type of double return in the guise of the double exposition. However, there are some restrictions on application of sonata types to these movements...

.../9781561592630.001.0001/omo-9781561592630-e -0000051222. 239Peter H. Smith Dvor ák and Subordinate Theme Closure Galand, Joel. 2008. Some Eighteenth-Century Ritornello Scripts and Their Nineteenth- Century Revivals. Music Theory Spectrum 30, no. 2: 239 82. Hepokoski, James. 1992. Fiery-Pulsed Libertine or Domestic...

... throughout the piece in a ritornello-solo alterna- tion: a St. Matthew Passion segment (with its aspects of Bach’s chorale-prelude setting of BWV 614) is followed by a chorale setting of the “Das alte Jahr” melody. In the last phrase of the “Das alte Jahr” chorale...

... myself have attempted to cast As Lester (1995, 203n38) notes, concerto movements Schenkerian light on Schumann’s instrumental forms in “inevitably involve ritornello/solo issues. Including them Smith 2009, 2011, 2014. [in this survey of Schumann’s sonata procedures] would...

... pattern is cycled five times, with two different har- monic settings arranged AABBA), this “ritornello” passage features only five full 1.0 segmentations, all occurring after the dotted-eighth trichord on the downbeat (though there are two different trichords—F≥-C-D≤ and E≤-E-A—both are members of set...

... ritornello function and affirming a static D major. But the music suddenly swerves to an even louder F-minor chord, via M, under- 276 JOURNAL of MUSIC THEORY cutting any suggestion of tonal unity, however superficially imposed, and ending the movement. The swerve...