Elements of Sonata Theory is a comprehensive rethinking of the basic principles of sonata form in the decades around 1800. This foundational study outlines a new, up-to-date paradigm for understanding the compositional choices found in the instrumental works of Haydn, Mozart, Beethoven: sonatas, chamber music, symphonies, overtures, and concertos.
Elements of Sonata Theory is a comprehensive rethinking of the basic principles of sonata form in the decades around 1800. This foundational study outlines a new, up-to-date paradigm for understanding the compositional choices found in the instrumental works of Haydn, Mozart, Beethoven: sonatas, chamber music, symphonies, overtures, and concertos.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
James Hepokoski is Professor of Music at Yale University. His research interests include nineteenth- and twentieth-century music, musical form, hermeneutics, and historiography. Warren Darcy is Professor of Music Theory at Oberlin College Conservatory. His book Wagner's Das Rheingold (Oxford, 1993) won the Society for Music Theory's Wallace Berry Award in 1995.
Inhaltsangabe
* 1. Contexts * 2. Sonata Form as a Whole: Foundational Considerations * 3. The Medial Caesura and the Two-Part Exposition * 4. The Continuous Exposition * 5. The Primary Theme * 6. The Transition (TR) * 7. The Secondary Theme (S) and Essential Expositional Closure: Initial Considerations * 8. S-Complications: EEC Deferral and Apparent Double Medial Caesuras (TMB) * 9. The Closing Zone (C) * 10. The Development (Developmental Space) * 11. The Recapitulation (Recapitulatory Space; Recapitulatory Rotation) * 12. Non-Normative Openings of the Recapitulatory Rotation: Alternatives and Deformations * 13. Parageneric Spaces: Coda and Introduction * 14. Sonata Form in Minor Keys * 15. The Three- and Four-Movement Sonata Cycle * 16. Sonata Types and the Type 1 Sonata * 17. The Type 2 Sonata * 18. Rondos and the Type 4 Sonata * 19. The Type 5 Sonata: Fundamentals * 20. The Type 5 Sonata: Mozart's Concertos (R1: The Opening Ritornello) * 21. The Type 5 Sonata: Mozart's Concertos (Solo and Larger Expositions: Solo 1 + Ritornello 2) * 22. The Type 5 Sonata: Mozart's Concertos (Development and Recapitulation: From Solo 2 through Ritornello 4) * Appendix 1. Some Grounding Principles of Sonata Theory * Appendix 2. Terminology: "Rotation" and "Deformation"
* 1. Contexts * 2. Sonata Form as a Whole: Foundational Considerations * 3. The Medial Caesura and the Two-Part Exposition * 4. The Continuous Exposition * 5. The Primary Theme * 6. The Transition (TR) * 7. The Secondary Theme (S) and Essential Expositional Closure: Initial Considerations * 8. S-Complications: EEC Deferral and Apparent Double Medial Caesuras (TMB) * 9. The Closing Zone (C) * 10. The Development (Developmental Space) * 11. The Recapitulation (Recapitulatory Space; Recapitulatory Rotation) * 12. Non-Normative Openings of the Recapitulatory Rotation: Alternatives and Deformations * 13. Parageneric Spaces: Coda and Introduction * 14. Sonata Form in Minor Keys * 15. The Three- and Four-Movement Sonata Cycle * 16. Sonata Types and the Type 1 Sonata * 17. The Type 2 Sonata * 18. Rondos and the Type 4 Sonata * 19. The Type 5 Sonata: Fundamentals * 20. The Type 5 Sonata: Mozart's Concertos (R1: The Opening Ritornello) * 21. The Type 5 Sonata: Mozart's Concertos (Solo and Larger Expositions: Solo 1 + Ritornello 2) * 22. The Type 5 Sonata: Mozart's Concertos (Development and Recapitulation: From Solo 2 through Ritornello 4) * Appendix 1. Some Grounding Principles of Sonata Theory * Appendix 2. Terminology: "Rotation" and "Deformation"
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