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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 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...
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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 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 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 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...
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...
Journal of Music Theory (2017) 61 (2): 171–200.
Published: 01 October 2017
... seven hundred instrumental works dated 1650–1770, I demonstrate that these two practices arose and functioned independently from each other, increasing in frequency and in length, before being subsumed into an overarching rotational practice. Keywords sonata form, big data, recapitulation...
Journal of Music Theory (2001) 45 (1): 144–150.
Published: 01 April 2001
... 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, Clementi s op. 36/4, or a shorter example the contrasting phrase (mm. 9 12) of the Theme...
Journal of Music Theory (2006) 50 (2): 277–290.
Published: 01 October 2006
... 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 general avoidance of these concepts. For example, he...
Journal of Music Theory (2022) 66 (2): 273–279.
Published: 01 October 2022
... Expositions makes an important contribution to the field of historically informed music theory by presenting, in considerable detail, historical theories of sonata form and by proposing them as effective tools of analysis. The fact that historical theories of form, though frequently discussed, have not been...
Journal of Music Theory (2013) 57 (2): 383–418.
Published: 01 October 2013
... ‘Concertante Rondo’ to ‘Lyric Sonata’: A Commentary on Brahms’s Reception of Mozart .” In Brahms Studies , ed. Brodbeck David , 111 – 38 . Lincoln : University of Nebraska Press . Davis Andrew Pollack Howard . 2007 . “ Rotational Form in the Opening Scene of Gershwin’s Porgy and Bess...
The Masterwork in Music: A Yearbook , 3 Vols. Heinrich Schenker Edited by William Drabkin Translated by Ian Bent, Alfred Clayton, William Drabkin, Richard Kramer, Derrick Puffet, John Rothgeb, and Hedi Siegel Studies in Music Theory and Analysis Vols. 5, 8, and 10 Ian Bent, General Ed. New York: Cambridge University Press, 1994, 1996, 1997
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...
Journal of Music Theory (2010) 54 (1): 25–36.
Published: 01 April 2010
... literal in its appropriation of classical sonata form. The 1803 “Kreutzer” Presto is a different animal, bold in its instrumental techniques and challenging in its treatment of sonata form—and it still sounds that way. To take just one small point: Beethoven’s minor-key movement has...
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
...): “In some sonata expositions, the form becomes compressed when the final cadence of the main theme is immediately followed by the subordinate theme” (211). Journal of Music Theory 50:2 Surpaa ex. 2 190 Journal of Music Theory 4 5 8 9 12...
Journal of Music Theory (2004) 48 (2): 337–354.
Published: 01 October 2004
... . “Brahms and Schenker: A Mutual Response to Sonata Form.” Music Theory Spectrum 16 : 77 -103. Struck, Michael. 1991 “New Evidence of the Genesis of Brahms's G major Violin Sonata, op. 78.” The American Brahms Society Newsletter 9/1 : 5 -7. Swafford, Jan. 1997 . Johannes Brahms...
Journal of Music Theory (2016) 60 (1): 51–88.
Published: 01 April 2016
... of the 1830s at the expense of late works like the Cello Concerto. Keywords Schumann, concerto, sonata form, tonal pairing, Schenkerian analysis, late style If one works with so great an art form [as the concerto], before which even the best in the land are timid, he should know what he is doing...
Journal of Music Theory (1999) 43 (1): 101–133.
Published: 01 April 1999
... formal schemes: the labels under Figure 27a indicate binary form, while those under Figure 27b (“Exp.—Dev.— Recap suggest sonata form. The latter illustration, however, belies Schenker’s actual analytical practice: apart from an early reading of the ﬁrst movement of Beethoven’s Sonata, op. 10, no. 2...
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
... Joachim Quantz . Hildesheim: G. Ohms. Churgin, Bathia. 1968 . “Francesco Galeazzi's Description (1796) of Sonata Form.” Journal of the American Musicological Society 21 : 181 –99. Cole, Malcolm S. 1964 . The Development of the Instrumental Rondo Finale From 1750–1800 . Ph.D. diss., Princeton...
Journal of Music Theory (2000) 44 (1): 1–43.
Published: 01 April 2000
... section of a movement that com- bines aspects of binary and sonata form. Ex. 4 presents the entire A sec- tion along with a voice-leading graph. The extra line of notation above the graph highlights the persistence of B throughout the phrase. The graph interprets the Bs as neighbor notes...