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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 (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 (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 (2023) 67 (1): 71–98.
Published: 01 April 2023
...Benedict Taylor Abstract One of the most prominent characteristics of Johannes Brahms's approach to sonata form is the return to the tonic at the start of the second section (or “rotation”) for a restatement of the exposition's primary theme. Well-known examples include the finales of the First...
FIGURES
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Published: 01 October 2022
Example 4. Liszt, Piano Sonata in B minor, mm. 105–10 (subordinate theme 1, segment).
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 1a. Brahms, Violin Sonata no. 3 in D minor, op. 108, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 1b. Brahms, Violin Sonata no. 3 in D minor, op. 108, i, start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 2a. Brahms, Violin Sonata no. 1 in G major, op. 78, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 2b. Brahms, Violin Sonata no. 1 in G major, op. 78, i, start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 3a. Brahms, Clarinet Sonata no. 2 in E-flat major, op. 120/2, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 3b. Brahms, Clarinet Sonata no. 2 in E-flat major, op. 120/2, i, start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 4a. Brahms, Violin Sonata no. 2 in A major, op. 100, i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 4b. Brahms, Violin Sonata no. 2 in A major, op. 100, i, start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 7. Brahms, Violin Sonata no. 2 in A major, op. 100, i, end of exposition and start of development
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 8a. Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of exposition
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in Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology
> Journal of Music Theory
Published: 01 April 2023
Example 8b. Haydn, Piano Sonata in D major, Hob. XVI:51 (1794), i, start of development
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in An Eightfold Taxonomy of Harmonic Progressions, and Its Application to Triads Related by Major Third and Their Significance in Recent Screen Music
> Journal of Music Theory
Published: 01 April 2023
Example 5. Franz Schubert, Piano Sonata D. 960, i, mm. 1–37. Annotations in brackets indicate aspects specific to its use in Ex Machina , 0:04:19.
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