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sonata

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Journal Article
Journal of Music Theory (2013) 57 (2): 383–418.
Published: 01 October 2013
...Joel Galand Joel Galand is associate professor of music theory and associate director of the School of Music at Florida International University. James Hepokoski and Warren Darcy Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata...
Journal Article
Journal of Music Theory (2006) 50 (2): 143–179.
Published: 01 October 2006
...Peter H. Smith Associative harmony functions as a powerful resource through which Schubert and Brahms fashion continuities within the dialectic of articulation and continuity that stands at the heart of the Viennese sonata style. More specifically, the technique of harmonic cross-reference provides...
Journal Article
Journal of Music Theory (2019) 63 (1): 103–138.
Published: 01 April 2019
...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...
Journal Article
Journal of Music Theory (2001) 45 (1): 119–143.
Published: 01 April 2001
...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...
Journal Article
Journal of Music Theory (2011) 55 (2): 221–251.
Published: 01 October 2011
...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...
Journal Article
Journal of Music Theory (2020) 64 (2): 203–240.
Published: 01 October 2020
...Peter H. Smith Form theorists have shown increasing interest in applying the methodologies of Caplin and of Hepokoski and Darcy to sonata forms of the nineteenth century. Many of these efforts proceed under the assumption that late eighteenth-century norms continued to influence Romantic sonata...
Journal Article
Journal of Music Theory (2010) 54 (1): 25–36.
Published: 01 April 2010
... “Kreutzer” sonata in connection with Tolstoy's infamous novella of the same name, they readily hear the passion and eroticism that Tolstoy imputed to the music. But the sonata dates from 1803; no one would write it today to evoke fatal attraction. Why should that be so? Must it be, and if so, why again? The...
Journal Article
Journal of Music Theory (2014) 58 (1): 25–56.
Published: 01 April 2014
...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...
Journal Article
Journal of Music Theory (2019) 63 (2): 209–229.
Published: 01 October 2019
...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) the...
Journal Article
Journal of Music Theory (2020) 64 (1): 1–36.
Published: 01 April 2020
... actually happens in terms of what they expected to happen. Although expectation is frequently invoked when considering very local phenomena (e.g., step-by-step progressions) or very global ones (e.g., the action spaces of a sonata), it has not played a systematic role in the analysis of basic theme types...
Journal Article
Journal of Music Theory (2020) 64 (2): 241–281.
Published: 01 October 2020
... in E ♭ major, D. 899, and Piano Sonata in B ♭ major, D. 960, demonstrate the analytic potential of modal spelled pitch class and the eight types of coordinated transpositions. While previous transformational theories have shed light on third relations in Schubert’s harmony (Cohn 1999), modal spelled...
Journal Article
Journal of Music Theory (2015) 59 (2): 191–234.
Published: 01 October 2015
... String Quartet and the first movement of the Sonata for Violin and Piano, showing how we can relate Shostakovich's aggregate melodies to their musical surroundings in a deeper and more detailed way. Stephen C. Brown is associate professor of music theory and coordinator of music theory and...
Journal Article
Journal of Music Theory (2015) 59 (2): 273–320.
Published: 01 October 2015
... emergence of a group structure, whose generators—named transpositio and transformatio —are also characteristic musical motions and relations. The proposed analytical methodology is probed in a couple of short pieces of Bartók's Mikrokosmos and in the third movement of his Piano Sonata. The article argues...
Journal Article
Journal of Music Theory (2016) 60 (1): 51–88.
Published: 01 April 2016
... Schumann concerto sonata form tonal pairing Schenkerian analysis late style Works Cited Abbate Carolyn . 2004 . “Music: Drastic or Gnostic?” Critical Inquiry 30 / 3 : 505 – 36 . Aldwell Edward Schachter Carl . 2011 . Harmony and Voice Leading . 4th ed. Boston...
Journal Article
Journal of Music Theory (2017) 61 (2): 171–200.
Published: 01 October 2017
... practice. Copyright © 2017 by Yale University 2017 sonata form big data recapitulation double return end-rhyme Works Cited Allsop Peter . 1999 . Arcangelo Corelli: New Orpheus of Our Times . Oxford : Oxford University Press . Bonds Mark Evan . 1988 . “ Haydn’s False...
Journal Article
Journal of Music Theory (2001) 45 (1): 144–150.
Published: 01 April 2001
... line (as explained below). What does this mean with regard to Schenker s concept of interruption as a basic characteristic of sonata form? For those movements in which the remains on top while an inner voice proceeds (viz. such as this movement, or K. 333, Beethoven s op. 14/I, Seventh Symphony...
Journal Article
Journal of Music Theory (2006) 50 (2): 277–290.
Published: 01 October 2006
...-eighteenth-century music—especially functional harmonic analysis, form (particularly sonata form), and Schenkerian theory—were not part of galant thinking and thus are inappropriate analytical tools for galant music. In part, this argument is implicit in Gjerdingen’s...
Journal Article
Journal of Music Theory (2013) 57 (1): 151–158.
Published: 01 April 2013
... this groundbreaking essay, which has stimu- lated considerable scholarly interest in and discussion of the notion of pro- cessual form since its publication. Schmalfeldt begins by citing Dahlhaus’s reading of the “Tempest” Sonata’s ambiguous opening as an epitome of form-as-process: is it an...
Journal Article
Journal of Music Theory (2019) 63 (1): 35–70.
Published: 01 April 2019
... . Hepokoski James Darcy Warren . 2006 . Elements of Sonata Theory: Norms, Types, and Deformations in the Late Eighteenth-Century Sonata . New York : Oxford University Press . Heyer Allison . 2007 . “ Analysis of Maria Schneider’s Green Piece .” MA thesis , University of Oregon...
Journal Article
Journal of Music Theory (2001) 45 (1): 162–169.
Published: 01 April 2001
... Symphony (in Volume III). Other sections deal with forms and genres (sonata form, fantasy, fugue), the evolving con- cept of the Urlinie, editorial distortion of musical texts, and the deficien- cies of Rameau’s theories. Each volume concludes with observations entitled “Miscellanea: thoughts on art and...