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sonata form

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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 (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 (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 (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 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...
Journal Article
Journal of Music Theory (2017) 61 (2): 171–200.
Published: 01 October 2017
... 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, double return, end-rhyme the revival of Formenlehre over...
Journal Article
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 Article
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 Article
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...
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...
Journal Article
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 Article
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
... Composition , 1782 -93. Beach, David. 1993 . “Schubert's Experiments with Sonata Form: Formal-Tonal Design versus Underlying Structure.” Music Theory Spectrum 15 : 1 -18. Cadwallader, Allen and William Pastille. 1992 . “Schenker's High-Level Motives.” Journal of Music Theory 36 : 117 -48...
Journal Article
Journal of Music Theory (2004) 48 (2): 337–354.
Published: 01 October 2004
... focuses on a composi- tional technique occurring in at least two of the Quartet’s movements. Chapter 2 concerns Brahms’s sonata forms and the dimensional counter- point exhibited by the large-scale tonal and thematic structures of the ex- positions and recapitulations in the first and last movements...
Journal Article
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 Article
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 Article
Journal of Music Theory (2000) 44 (2): 381–450.
Published: 01 October 2000
... way in which composers could accommodate the traditional tutti/solo alternation of the concerto genre within the binary sonata-form frame. This strategy, however, was never widely adopted. Mozart, whose concertos are so often compared to J. C. Bach’s, always composes tonally-closed opening...
Journal Article
Journal of Music Theory (2000) 44 (1): 1–43.
Published: 01 April 2000
... 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 that embellish a prolonged A, a seemingly unproblematic view of a phrase...
Journal Article
Journal of Music Theory (2003) 47 (1): 125–154.
Published: 01 April 2003
.... Beethoven, String Quartet Op. 18, No. 3, I, mm. 25–35 than second-group ones, they are not infrequent; and, like second-group closing themes, they are often end-accented.13 The connection between end-accentedness and closing themes extends beyond sonata form. Consider Example 9, from Chopin’s Etude...
Journal Article
Journal of Music Theory (2006) 50 (2): 143–179.
Published: 01 October 2006
...-2Peter H. Smith Smith Example    Sonata 4 pageExpositions 2 of 2 of Schubert and Brahms 151 27 Basic Idea, tonic form Basic Idea, subdominant form dolce $ − Łý Łý Š − − ðý Łý Łý...