Academic literature on the topic 'Symphonies Sonata form Sonata form'
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Journal articles on the topic "Symphonies Sonata form Sonata form"
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Cannon, Steven Craig. "Sonata Form in the Nineteenth-Century Symphony." Empirical Musicology Review 11, no. 2 (January 10, 2017): 204. http://dx.doi.org/10.18061/emr.v11i2.4956.
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This paper presents an analytical survey of 283 symphonies dating from 1800-1899. Features of full symphonies include the rate of compositional output over the course of the century, the number, order, and keys of movements, and the prevalence of sonata form. Individual movements that use sonata form receive greater attention, including analysis of the general proportions of internal sections (that is, relative lengths of slow introductions, expositions, developments, and recapitulations plus codas), as well as overall tonal plans.
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Fulias, Ioannis. "A peculiarity in Haydn’s early symphonic work: Form and possible sources of the first movement of Symphony Hob. I:21." Studia Musicologica 51, no. 3-4 (September 1, 2010): 419–28. http://dx.doi.org/10.1556/smus.51.2010.3-4.12.
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Among the first forty symphonies that Joseph Haydn wrote up to 1765, Symphony Hob. I:21 has a slow first movement that does not resemble any other, since it is not based on the usual mid-18th-century ternary or binary sonata form; its structure would be better described as a fantasy with allusions of sonata form, and this special structural case should be placed somewhere in the middle of two other notable “capriccios” from the same period: the first movement of Keyboard Trio Hob. XV:35 (a pure sonata form) and the Keyboard Capriccio Hob. XVII:1 (a pure fantasy on a single theme). Yet, the unique form of Hob. I:21 / I does not seem to be absolutely novel in the “pre-classical” repertoire, since some slow movements from Carl Philipp Emanuel Bach’s “Württemberg” Sonatas (Wq. 49 nos. 1, 3 and 6) display several common characteristics with it. Thus, the present paper, focusing on similarities between C. P. E. Bach’s and J. Haydn’s compositions during the 1760s, aims at the broadening of the subject-matter of one’s influence on the other, not only from a chronological point of view but also in terms of an interrelation between different music genres.
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De Souza, Jonathan, and David Lokan. "Hypermetrical Irregularity in Sonata Form: A Corpus Study." Empirical Musicology Review 14, no. 3-4 (July 6, 2020): 138. http://dx.doi.org/10.18061/emr.v14i3-4.6906.
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In sonata form, development sections are characterized by tonal, textural, and phrase-structural instability. But are these instabilities counterbalanced by regularity in other musical domains? Are any syntactic layers more consistent in developments, relative to expositions or recapitulations? This corpus study examined hypermeter in expositions and developments from eighteenth- and nineteenth-century symphonic sonata movements. It analyzed both hypermetrical shifts (where a hypermeasure's duration differs from that of the preceding group) and hypermetrical deviations (where a hypermeasure departs from the four-measure norm). Developments had significantly less hypermetrical irregularity than expositions. This difference between formal sections was observed with all composers in the corpus, though they used varied amounts of hypermetrical regularity overall. These results, which are likely related to sequence blocks in the developmental core, suggest that hypermetrical grouping might serve a stabilizing function in sonata developments.
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Kang, Yongsik. "Ars Combinatoria in Eighteenth-Century Sonata Form : With a Focus on Crispi’s Symphonies." Journal of the Science and Practice of Music 40 (October 31, 2018): 35–70. http://dx.doi.org/10.36944/jspm.2018.10.40.35.
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Нrebeniuk, Nataliіa. "F. Schubert’s last Piano Sonatas in the aspect of his song-like thinking." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 150–63. http://dx.doi.org/10.34064/khnum2-21.10.
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Background. Close relationships to a song is one of the constants of F. Schubert’s individual thinking. As it embraces all the genre spheres in composer’s heritage, it acquires a universal status, resulting in interchange of author’s findings in chamber-vocal and instrumental works, particularly piano ones. The researchers reveal influence of songs in non-song works by F. Schubert on two main levels: intonationally-thematical and structural. This raised a question about premises, which had created conducive conditions for integration of compositional principles, characteristic for songs and instrumental works by F. Schubert. This question is regarded on the example of three last Piano Sonatas by F. Schubert. Having been written in proximity to composer’s death, they demonstrated unity of composer’s style, achieved by him by integrating his innovations in song and instrumental genres into a unity of the highest degree. Objectives and methodology. The goal of the given article is to study the structure of selected songs by F. Schubert, marked by throughout dramatic development, and to reveal their influence on composer’s last piano sonatas. In order to achieve these goals, compositionally-dramaturgical and comparative methods of analysis were used. Theoretical preconditions. As a reference point for studying of influence of F. Schubert’s songs on his instrumental works, we might consider an article by V. Donadze (1940). In this research author for the first time formulated a view on composer’s song lyricism not only as on central element of his heritage, but also as on a factor, penetrating and uniting all the genres, in which the composer had worked. Thus, concept “song-like symphonism” entered musicological lexicon. The fruitful idea about song-like thinking of F. Schubert found rich development in numerous works of researchers of next generations and keeps its relevance up to nowadays. Results. Even in the one of the very first masterpieces of a song – “Gretchen am Spinnrade” – the author creates unique composition, organized by a circular symbol, borrowed from J. W. Goethe’s text. Using couplet structure as a foundation, F. Schubert creates the structure in a way, creating illusion of constant returning to the same thought, state, temporal dimension. The first parts of every couplet repeat, the second ones – integrate into a discrete, although definitively heading to a culmination, line of development. Thus, double musical time emerges simultaneously cyclical and founded on an attempt to achieve a goal. In the sonata Allegri, regarded in this article, the same phenomenon is revealed in interaction of classical algorithm of composition and functional peculiarities of recapitulations, which are transformed into variants of exposition. As an example of combination of couplet-born repetitions with throughout development we may name song “Morgengruss” from “Die schöne Müllerin”. The same method of stages in the exposition and recapitulation can be found in sonata Allegro of Sonata in C Minor. Polythematic strophic structure with throughout development is regarded on example of “Kriegers Ahnung” (lyricist Ludwig Rellstab) from “Der Schwanengesang”, which is compared to Andante from the before mentioned Sonata. Special attention is drawn to the cases in which cyclical features, characteristic for F. Schubert’s songs, find their way into sonata expositions and recapitulations. In the first movement of Sonata in B-flat Major these chapters of musical structures consist of three quite protracted episodes, which might be identified as first subject, second subject and codetta, respectively. Each of these episodes has its own key, image and logic of compositionally-dramaturgic process, while being marked by exhaustion of saying, which approximates the whole to a song cycle. The logic governing the succession of the episodes is founded not on causation (like in classical sonata expositions and recapitulations), but on the principles of switching from one lyrical state to another. The same patterns of structure are conspicuous in exposition and recapitulation of the first movement of Sonata in C Minor, in which the first section is marked by throughout development, the second one is a theme with two different variations, and the third one, the one recreating the process of rumination, with long pauses and fermatas, interrupting graduality of the movement, is founded on the contrast between playful and lyrical states. The outer movements of Sonata in A Major consist of several episodes. The first subject in ternary form has contrasting middle section; quite uncommon for F. Schubert linking episode dilates so much its function of “transition” is almost lost; enormous second subject eclipses the codetta in every section; it is an unique world, a palette of moods, images, musical events. Conclusions. Innovativity, characteristic for F. Schubert in the field of Romantic song, reveals itself not only in the spheres of images and emotions, musical language, interaction between vocal melody and piano part, but also in the organization of a structure. This allowed to re-evaluate means of organization of compositionally-dramaturgic process in piano sonatas by the composer as in the genre of instrumental music. While in the songs and song cycles these principles of structure were closely connected to extra-musical content, conditioned by it, in instrumental works, specifically, in piano sonatas, they became a feature of the musical content, immanent for music. This particularly helps to explain, why is it possible to use these principles without song-like intonations, usual for them. By the same token, even in this “isolated” variant they remind of their song origin, so songs and song cycles by F. Schubert become a “program” of his piano sonatas and works in another instrumental genres, in a similar fashion to opera, which has become crucial source for development of classical symphony.
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Dudeque, Norton. "Prométhée, op. 21 by Leopoldo Miguez: Considerations on the Symphonic Poem, Its Program and Sonata Form." Opus 22, no. 1 (June 2016): 35–58. http://dx.doi.org/10.20504/opus2016a2202.
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Ward, Matthew. "AT MASS WITH SIR JAMES: MACMILLAN'S SYMPHONY NO. 4 AND LITURGICAL TIME." Tempo 72, no. 286 (September 6, 2018): 31–41. http://dx.doi.org/10.1017/s0040298218000335.
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AbstractSir James MacMillan's Symphony No. 4 is claimed by the composer as an abstract work, but a clear programme is discernible through the use of references to the Roman Catholic Mass. MacMillan uses Gregorian chant, quotations from Robert Carver's Missa Dum sacrum mysterium (c. 1523) and his own St Luke Passion (2015) to create a liturgical form for the symphony. These allusions and their presentation in the symphony can be fruitfully understood in relation to Catholic theologies of time and the Eucharist. When allusions to sonata form are also taken into consideration, the result is a complex interaction between different experiences of time in the symphony's span.
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Monahan, Seth. ""Inescapable" Coherence and the Failure of the Novel-Symphony in the Finale of Mahler's Sixth." 19th-Century Music 31, no. 1 (2007): 053–95. http://dx.doi.org/10.1525/ncm.2007.31.1.053.
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Critics have long viewed Mahler's Sixth Symphony in A Minor (1904) as the composer's consummate essay in musical tragedy or negativity, one with deeply personal implications. Its enormous finale draws together materials from all the preceding movements and enacts a terrible conflict ending in failure. Yet few studies have looked beneath the work's bombastic rhetorical-expressive surface to explore how its negativity might be reflected in its tonal, formal, and thematic processes. This study sets out to link that negative expressivity to a breakdown of what Adorno called the "novelistic" character of Mahler's symphonies. For Adorno, Mahler pioneered a new, emancipatory symphonic idiom, one that liberated its musical materials from the dictates of preconceived formal totalities. Unlike the Classical symphony, where the parts exist for the sake of a symmetrical, tightly knit whole, the "novel-symphony" follows no predetermined path. Instead, it unfolds according to the dictates of its constituent elements, realizing its unique form from the "bottom up" rather than the "top down."Yet (as Adorno suggests) in the finale of the Sixth this integrating totality returns with a vengeance. We can read the movement as a clash between Adorno's novelistic and Classical paradigms, a showdown between the impulsive freedom of certain recalcitrant thematic elements on the one hand, and the increasingly punitive demands of rigid minor-mode sonata on the other. This drama--one that caricaturizes "classicism" itself as a repressive or stifling force--plays out on both formal and thematic levels. Several writers have noted the claustrophobic effect created by Mahler's incessant recycling of certain key motives, an "inescapable" coherence in which the organicist imperatives of the grand tradition themselves become corrupt and, ultimately, corrosive. As these generic, subthematic particles proliferate, the movement's "novelistic" themes--those seeking to subvert the strict sonata--are systematically denuded of the differentiating features and dissolved beyond recognition. In the end, the movement's infamously brutal minor-mode conclusion reveals itself to be the culmination of a musical plot spanning the entire movement, one that gathers its many details into an inexorably tragic narrative whole.
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Sediuk, I. O. "The originality of neoclassic principles reflection in the Sonata for two pianos by Paul Hindemith." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 154–68. http://dx.doi.org/10.34064/khnum1-56.10.
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Background. The neoclassicism of the first decades of the 20th century turned to be a kind of opposition to atonalism, which captured many radical composers. The supposed “bilingualism” of neoclassicism opened wide perspectives for individual concepts realization, broadening the boundaries of new knowledge of the Baroque and early classicism. Instrumental sonata, including the Sonata for Two Pianos naturally entered the neoclassical trend mainstream in a number of others, non-symphonic classical and romantic genres, compensating for the rejection of effective dramaturgy by enhancing the contrast between the cycle’s parts, thus tending to Baroque cyclic compositions. For Paul Hindemith, whose name is always associated with this art movement, “communication” with musical past was not an instant hobby but something that determined the focus of his creative thought. Objectives. The article’s purpose is to reveal the peculiarity of neoclassic principles embodiment in the Sonata for Two Pianos by P. Hindemith, to consider its composition, semantic and structural units. Methods. The study’s methodology is based on historicism principle, which involves the study of artistic phenomena being connected with the established musical art experience, and a comprehensive approach that allows involving of different methods of music analysis. Results. Sonata for Two Pianos (1942) consists of five movements; each one has its name. P. Hindemith’s individual approach to the sonata genre is usually evaluated in terms of the artist’s refusal of traditional composition, changes in sonata form, which often includes dramatic function changing. This is due to the desire to make equal all the forms involved in the cycle, in particular the most important polyphonic ones. The movements’ names “The Bells”, “Allegro”, “Canon”, “Recitative”, “Fugue” reveal the suite’s features. “The Bells” opening the cycle show a wide range of musical associations: from French harpsichordists gravitating to sound expression to representatives of different national cultures of the 20th century. The textured thematic drawing of the part reveals another modus of play with tradition expressing itself in improvisational principle domination and Baroque fantasy revival. The Old English verse text preceding “Recitative” reminds of 16–17th century program compositions and shows connection with opera art. “Recitative” combines concise musical phrases typical for Baroque culture vocal genres and typical rhythm formulas that embody the freedom of language intonation and bring in improvisation and allusion on basso continuo. The reference to Baroque era polyphony is evidenced by “Canon” and “Fugue”. In the “Canon”, polyphonic interaction is reached by two piano parties and not by individual voices of the four-voice ensemble texture. The slow tempo Lento, the static movement of musical thought, where “step” pulsation is felt in 4/8 metrics, unusual for classic and romantic culture, the predominance of quiet sound implies tragic pathetic element in “Recitative”. These two parts, “Canon” and “Recitative”, constitute a complementary semantic pair as play modes of tragic imagery embodiment through Baroque era high style, its objective and subjective beginnings. Actually, sonata genre is represented only by the second part “Allegro” with its fast tempo, clarity of form, volitional character of the main theme, scherzo grace of the subsidiary theme, large coda. The composer maintains contrast method choosing his complex of expressive means for each exposition sections. The Sonata is finished by a grand three-theme fugue with metro-rhythmic design associated with the corresponding polyphonic music structures, and more, the initial fifth step corresponds to J. S. Bach’s “Fugue Art”. The first theme’s imperative character establishes the dramatic imagery as fundamental in Sonata’s artistic concept. Its intonational content is characterized by fourth and fifth interval structures, some of them are creating the frame of the whole cycle. The second theme is more melodic and contrasting. The bass register of the third theme in rhythmic augmentation, the wave-like pattern of its melodic line covering the range of the diminished octave, is perceived as embodying of the modern thinking tension, the “echo” of Baroque era aesthetic ideas. The artistic idea of the Sonata for Two Pianos by P. Hindemith is built on drama concentration, overcoming suite separation of the parts and reflecting the full life realities and the inviolability of Universe laws. Conclusions. Sonata for Two Pianos by P. Hindemith returns to its origins thanks to the 20th century artists’ interest to the Baroque culture, demonstrating irregular genre boundaries and the ability to maintain high polyphony means, unregulated cycle and synthesis of several compositional principles within one work. The neoclassical principles did not deprive the Sonata of being presented in that time’s social and spiritual events, and allowed it to generalize modern world conflicts with the help of established semantic and compositional units. Thus, P. Hindemith’s Sonata for Two Pianos preserves its own approach to musical experience and possibilities of ensemble technique distinguished in almost full absence of performing competition idea, dialogism in its traditional reflection while retaining the parties’ equality.
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Kutluieva, Daria. "Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 143–57. http://dx.doi.org/10.34064/khnum2-16.08.
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Background. Nowadays, the typology of the piano quartet is actively studied by the modern scientists. The genesis of this genre is becoming more contentious. As pointed out by L. Tsaregorodtseva (2005), and earlier I. Byaly (1989), a connection of concerts for clavier solo accompanied by a string ensembles and a string quartet form a foundation for a genre of the piano quartet. N. Samoilova (2011) sees the origin of this genre in ensembles with clavier, L. Tsaregorodtseva (2005) ‒ in the historical and cultural situation of the last third of the 18th century, including the genre (string quartet and piano concerto), structural and compositional (sonata form), organological (instrument condition), performing (pianism development). I. Byaly (1989) and I. Polskaya (2001) consider the trio principle as the basis of ensemble genres, including the piano quartet. A conjunction of these opinions let us perceive the piano quartet as the result of the synthesis of various compositional and genre principles of ensembles, which formed the basis of the classical structure of the genre. Its creators are believed to be W. A. Mozart, the author of two piano quartets: No. 1 g-moll KV478 and No. 2 Es-dur KV493 (1785; 1786), and L. Beethoven, who composed four piano quartets: WoO 36 № 1 Es-dur, № 2 D-dur, № 3 C-dur (1785) and op. 16 Es-dur (1801). In these compositions of the classical era the defining attributes of the genre were multitimbrality, which manifests in keyboard and string instruments; ensemble players equality; signs of various types of utterance, including those inherent in a string quartet and clavier concerto involving a group of strings; sonatas and symphonies; as well as the type of composition, built on the model of “fast-slow-fast” with the obligatory sonata Allegro in the first position. In the romantic era, the boundaries of the genre expand in terms of content, structure, interpretation of the ensemble. The first attempt to increase the scale of the cycle belongs to C. M. Weber, who brought it closer to the composition of the string quartet through the introduction of Menuetto. However, the final fourpart cycle is set by F. Mendelssohn, who replaced Menuetto with Scherzo, which becomes the normative model for the romantic tradition of the genre. Objectives. The purpose of this article is to determine the role of F. Mendelssohn’s piano quartets in the evolution of the genre in general, and in the romantic era in particular. Results. Three piano quartets by F. Mendelssohn present a picture of his youthful attitude. The musician’s early composing ability allowed him to turn to the creation of works of this genre without fear. This genre usually attracts the attention of artists in their mature period of creativity, having mastered various genres, including chamber-instrumental ensembles (W. A. Mozart, R. Schumann, J. Brahms). It is easy to observe the commonalities of F. Mendelssohn and young Beethoven, who also composed the piano quartets in the early days of his oeuvre. F. Mendelssohn has composed three piano quartets: No. 1 c-moll (1882), dedicated to Prince Antoine Radziwill, No. 2 f-moll (December 1823), dedicated to Karl Zelter, and No. 3 h-moll (January 1823) – to Goethe. The skill of using large structures, the depth of musical thought, and even the sings of his future style are starting to find expression in Mendelssohn’s youth compositions. The four-part structure of the composition cycles reveals the young composer’s interest in the works of L. Beethoven, in particular in his piano sonatas. Distinctly clear analogies are also found in «Aurora» op. 53 and «Appassionata» op. 57. R. Larry Todd (2003) also points to the similarity of the original themes of the Piano quartet No. 1 c-moll by F. Mendelssohn and the piano sonata in the same key KV457 by W. A. Mozart. It defined by the initial course of the sounds of the basic triad, as well as the use of symmetrical question-answer constructions, contrasting in mood. The connections between these two compositions are even more evident in the finale, which begins with a theme directly borrowed from the last part of W. A. Mozart’s sonata (as identified by the author of this article). In Quartet No. 2 f-moll, connections with the music of L. Beethoven are not limited to allusions to the famous piano sonatas of the Viennese classic. The first part of F. Mendelssohn’s cycle contains several definite signs of Beethoven’s influences: the development of the code is significantly expanded in the sonata form, and in a monumental reprise the young author defines the extreme dynamic level fff. In Adagio (Des-dur) there is a wide enharmonic palette, including several sharp keys. The next part, labeled as Intermezzo, provides a transition to the «explosive» finale, which opens with a «rocket-like» theme, driven by an ascending line of chromatic bass. Piano Quartet No. 3 h-moll is the work that determined the choice of F. Mendelssohn’s professional composer career, which was highly appreciated by L. Kerubini. Mastery of the musical form is manifested in a significant expansion of the scope of the cycle and each of its parts. Adhering to the strategy of virtuoso interpretation of the piano part, which was chosen in the first two opuses, the author, at the same time, subordinates the tasks of demonstrating the pianist’s instrumental possibilities to the purpose of disclosure the dramatic idea of the work. At the same time, he does not brake the principle of equality of ensemble members, borrowed from his predecessors in any of his piano quartets. Conclusions. The analysis revealed the following indicators of the romanticization of the piano quartet genre in the work of F. Mendelssohn. These are: the scale of the content and composition of the cycle; the large coda sections in the first and final parts; the poetic completion of the lyrical second parts, as it is in “songs without words”; brilliance of the final parts; dominance of minor keys; equality of ensemble members with the “directorial” function of the piano and others. The high artistic qualities of F. Mendelssohn’s piano quartets attract the attention of many performers, among which the Foret Quartet demonstrates the most adequate interpretation of these works.
Dissertations / Theses on the topic "Symphonies Sonata form Sonata form"
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Venegas, Carro Gabriel Ignacio, and Carro Gabriel Ignacio Venegas. "The Slow Movements of Anton Bruckner's Symphonies: Dialogical Perspectives." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626364.
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This study presents a detailed analytical examination of formal organization in Anton Bruckner’s early instrumental slow movements: from the String Quartet, WAB 111, to the Third Symphony, WAB 103. It proposes an analytical methodology and conception of the formative process of musical works that seeks to 1) reappraise the development and idiosyncrasies of his slow movements’ form, and 2) turn the textual multiplicity often associated with Bruckner’s large-scale works (a scholarly issue often referred to as the “Bruckner Problem”) into a Bruckner Potential.
In addressing traditional and innovative formal aspects of Bruckner’s music, critics have tended to overemphasize one side or the other, consequentially portraying his handling of form as either whimsical or excessively schematic. By way of a reconstruction of Bruckner’s early experiments with slow-movement form (1862–1873), this study argues that influential lines of criticism in the reception history of Bruckner’s large-scale forms find little substantiation in the acoustical surface of Bruckner’s music and its dialogic engagement with mid- and late-19th-century generic expectations.
Because the textual multiplicity often associated with Bruckner’s works does not sit comfortably with traditional notions of authenticity and authorship, Bruckner scholarship has operated under aesthetic premises that fail to acknowledge textual multiplicity as a basic trait of his oeuvre. The present study circumvents this shortcoming by conceiving formal-expressive meaning in Bruckner’s symphonies as growing out of a dual-dimensional dialogue comprising 1) an outward dialogue, characterized by the interplay between a given version of a Bruckner symphony and its implied genre (in this case, sonata form); and 2) an inward dialogue, characterized by the interplay among the various individualized realizations of a single Bruckner symphony. The analytical method is exemplified through a detailed consideration of each of the surviving realizations of the slow movement of Bruckner’s Third Symphony, WAB 103.
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Mathews, Steven D. "Getting to the Crux: The Inner/Outer-Form Dynamic and the Type 2 Sonata in Select Symphonic Movements by Mozart, Haydn, and J. C. Bach." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1623241774278313.
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Patterson, Jason 1982. "Multidimensional Musical Objects in Mahler's Seventh Symphony." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505248/.
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Gustav Mahler's Seventh Symphony seems to belie traditional notions of symphonic unity in that it progresses from E minor in the first movement to C major in the Finale. The repertoire of eighteenth and nineteenth century composers such as Haydn, Beethoven, and Brahms indicates that tonal holism is a significant factor for the symphonic genre. In order to reconcile Mahler's adventurous key scheme, this dissertation explores a multidimensional harmonic model that expands upon other concepts like Robert Bailey's double-tonic complex and transformation theory. A multidimensional musical object is a nexus of several interconnected chords that occupy the same functional space (tonic, dominant, or subdominant) and can be integrated into a Schenkerian reading. Mahler's Seventh is governed by a three-dimensional tonic object that encompasses the major and minor versions of C, E, and A-flat and the augmented triad that is formed between them. The nature of this multidimensional harmony allows unusual formal procedures to unfold, most notably in the first movement's sonata form. To navigate this particular sonata design, I have incorporated my own analytical terminology, the identity narrative, to track the background harmonic events. The location of these events (identity schism, identity crisis, and identity reclamation) is critical to the entire structure of the Seventh.
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Mastic, Timothy. "Normative Wit: Haydn's Personal Sonata Form." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19231.
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This thesis approaches Haydn’s sonata-form procedures from the perspective of the eighteenth-century listener, asking, if a moment is allegedly “witty” according to modern analysts, would Haydn's contemporary audience have heard it as such? Eighteenth-century wit has two sides: wit involves an aspect of surprise or deception, a breaking of understood norms; however, wit must also involve an unsuspected congruity, a broader connection created only by breaking the aforementioned norm. Taking this as my starting point, I explore false recapitulations in the Haydn’s music, concluding that this device cannot be considered witty because it did not break an understood convention. I then provide detailed analyses of the first movements of Haydn’s “Military” Symphony no. 100 and String Quartet in D major, op. 33 no. 6, arguing that they are witty not solely because they are disruptive, but because this disruption binds the sonata together in an unexpected way.
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Falterman, David. "Two-Dimensional Sonata Form as Methodology: Understanding Sonata-Variation Hybrids through a Two-Dimensional Lens." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505161/.
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One of the difficulties of nineteenth-century form studies is ambiguity in ascertaining which formal types are at work and in what ways. This can be an especially difficult problem when multiple formal types seem to influence the construction of a single composition. Drawing on some recent innovations in form studies proposed by Steven Vande Moortele, Janet Schmalfeldt, and Caitlin Martinkus, I first develop a set of analytical tools specifically made for the analysis of sonata/variation formal hybrids. I then refine these tools by applying them to the analysis of two pieces. Chopin's Fourth Piano Ballade can be understood from this perspective as primarily following the broad outlines of a sonata form, but with important influences from the recursive structures of variation forms; Franck's Symphonic Variations, on the other hand, are better viewed as engaging most of all with multiple variation-form paradigms and overlaying them with some of the rhetorical and formal structures of sonata forms. I conclude with a brief speculation on some further, more general applications of my methodology.
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Black, Brian 1953. "Schubert's apprenticeship in sonata form : the early string quartets." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=41985.
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Until recently, Schubert's sonata forms have been treated as the partially successful products of a classicist who often misunderstood his models. The development of sonata form in his early string quartets, though, raises serious questions about such a view. The quartets (ca. 1810 to 1816), constitute the composer's first concentrated work in large-scale instrumental music and include some of his earliest compositions in any genre. The first sonata-form movements all lack the most basic features of the structure, specifically a clearly delineated subordinate theme and subordinate key in the exposition. The evolution of Schubert's sonata form from 1810 to 1816 consists of an expansion to encompass such necessary tonal and thematic contrast. This process, however, does not lead to a close imitation of the Classical prototype but rather to a highly original reinterpretation of the form. By the end of 1814, many of the distinctive tendencies in his writing are already evident. These include (1) unusual modulatory strategies dependant upon tonal ambiguity and surprise, (2) the first signs of an intensely lyrical quality in the thematic material, (3) complementary, as opposed to derivative, thematic relationships, in which the musical discourse is divided between two contrasting motivic regions connected by underlying harmonic links and (4) a widespread allusiveness in his handling of harmony, which allows an initial harmonic event or "sensitive sonority" to become increasingly significant as the music proceeds. Ultimately Schubert's innovative approach to sonata form, while weakening the Classical attributes of clarity and conciseness, infuses a new atmosphere into the structure, making it the perfect vehicle for the expression of Romantic sentiment.
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Black, Brian. "Schubert's apprenticeship in sonata form, the early string quartets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ29892.pdf.
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TSAI, I.-HSUAN. "THE APPROACH TO SONATA FORM IN SCHUBERT'S PIANO TRIOS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085690770.
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Kizas, Andrew James. "Pitch organization and form in Bartók's sonata for piano (1926)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0003/MQ42164.pdf.
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Saffle, Michael. "Liszt, Cultural Identity, Sonata Form, and the Scherzo und Marsch." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71973.
Full textBooks on the topic "Symphonies Sonata form Sonata form"
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Rainer, Bayreuther, ed. Anweisung zum Generalbassspielen. Laaber: Laaber-Verlag, 2005.
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Bauman-Szulakowska, Jolanta. Forma sonatowa w XIX i w pierwszej połowie XX wieku: Przegląd historyczny i analityczny : wiek XIX--sonaty fortepianowe i utwory kameralne. Katowice: Akademia Muzyczna im. Karola Szymanowskiego, 1999.
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The early works of Felix Mendelssohn: A study in the romantic sonata style. Philadelphia: Gordon and Breach, 1992.
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Pfann, Walter. Zur Sonatengestaltung im Spätwerk Maurice Ravels: (1920-1932). Regensburg: G. Bosse, 1991.
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Heitmann, Christin. Die Orchester- und Kammermusik von Louise Farrenc: Vor dem Hintergrund der zeitgenössischen Sonatentheorie. Wilhelmshaven: F. Noetzel, 2004.
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Bieler, Maria. Binärer Satz, Sonate, Konzert: Johann Christian Bachs Klaviersonaten op. V im Spiegel barocker Formprinzipien und ihrer Bearbeitung durch Mozart. Kassel: Bärenreiter, 2002.
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Hinrichsen, Hans-Joachim. Untersuchungen zur Entwicklung der Sonatenform in der Instrumentalmusik Franz Schuberts. Tutzing: Schneider, 1994.
Find full textBook chapters on the topic "Symphonies Sonata form Sonata form"
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Turek, Ralph, and Daniel McCarthy. "Sonata Form." In Theory for Today’s Musician, 478–94. Third edition. | New York ; London : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351246262-34.
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Santa, Matthew. "Sonata Forms." In Hearing Form, 57–73. 2nd ed. Second edition. New York, NY; Abingdon, Oxon: Routledge, 2016. | “2016 Includes: Routledge, 2021. http://dx.doi.org/10.4324/9781003187653-4.
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Beach, David. "Sonata Form 1." In Schenkerian Analysis, 195–230. Second edition. | New York ; London : Routledge, 2019. | Previous edition published under title: Advanced Schenkerian analysis.: Routledge, 2019. http://dx.doi.org/10.4324/9780429453793-8.
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Beach, David. "Sonata Form 2." In Schenkerian Analysis, 231–51. Second edition. | New York ; London : Routledge, 2019. | Previous edition published under title: Advanced Schenkerian analysis.: Routledge, 2019. http://dx.doi.org/10.4324/9780429453793-9.
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Sanguinetti, Giorgio. "A Partimento in Classical Sonata Form by Giacomo Tritto." In Das flüchtige Werk. Pianistische Improvisation der Beethovenzeit, 57–68. Schliengen: Edition Argus, 2019. http://dx.doi.org/10.26045/kp64-6176-004.
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Monahan, Seth. "Sonata Form in Mahler’s Narrative Imagination." In Mahler's Symphonic Sonatas, 11–34. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199303465.003.0002.
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Moortele, Steven Vande. "Expansion and Recomposition in Mendelssohn’s Symphonic Sonata Forms." In Rethinking Mendelssohn, 210–35. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190611781.003.0010.
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This chapter rethinks Felix Mendelssohn’s position vis-à-vis the New Formenlehre by focusing on structural expansion and recomposition in the subordinate theme groups of his symphonic sonata forms. A recurring strategy in the exposition of these works is to present a short, tight-knit theme that is then repeated and progressively expanded, significantly delaying the arrival of the cadence that concludes the subordinate theme group. This process of expansion in the exposition then forms the starting point for the recomposition of the subordinate theme group in the recapitulation. Drawing on examples from the first movements of the ‘Reformation’ and the ‘Italian’ Symphonies as well as from the Hebrides and Ruy Blas overtures, this chapter seeks not only to offer a more balanced account of the relation between the old and the new in Mendelssohn’s symphonic music but also to use that music as a locus of theory formation that contributes to a definition of what constitutes ‘Romantic’ form.
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Turek, Ralph, and Daniel McCarthy. "Sonata Form." In Theory for Today's Musician, 324–38. Routledge, 2018. http://dx.doi.org/10.4324/9781351246224-26.
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Grave, Floyd, and Margaret Grave. "Sonata Form." In The String Quartets of Joseph Haydn, 49–75. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780195173574.003.0005.
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"Sonata Form." In The Szymanowski Companion, 225–29. Routledge, 2016. http://dx.doi.org/10.4324/9781315552378-47.
Full textConference papers on the topic "Symphonies Sonata form Sonata form"
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Tiemeyer, Daniel. "Johann Nepomuk Hummels Sonate in fis-Moll Op. 81 – Studien zu Entstehungshintergrund, Rezeption und formaler Struktur." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.74.
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The article examines the significance of one of Johann Nepomuk Hummel’s masterpieces. First, it highlights the circumstances of its production and the contemporary critical acclaim in the AmZ. In a second step, Robert Schumann’s involvement with this work is shown. In his journal, the sonata of Hummel is mentioned several times which indicates the engagement of the young piano discipline. In a short article, published in the NZfM in the year 1839, Schumann links this sonata with the compositional “way of Mozart” and thus gives an important hint to the formal design of the piece itself. Aspects of formal organization and structure of this sonata are analyzed and presented in the third part of the essay. In opposition to Beethoven’s motivic development, Hummel pursues another strategy of formal structure by stringing together each of the segments and themes. Thus, the focus shifts from a dynamic design of sonata-form to a more epic layout of the piece. Additionally, technical development and innovations concerning piano techniques and virtuosity are examined.
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Vlahopol, Gabriela. "TYPOLOGIES OF THE SONATA FORM IN THE PIANO SONATAS OF FRANZ SCHUBERT - LANDMARKS OF CONTINUITY AND INNOVATING ELEMENTS." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s25.028.
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Takamatsu, Yusuke. "Synthese als Modus der Prozessualität bei Schubert: Sein spezifisches Wiederholungsprinzip im langsamen Satz." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.73.
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In contrast to Beethoven’s music, Schubert’s music has been described through the concept of “a-finality” (Fischer 1983), employing the same elements repeatedly. In this sense, Schubert’s music seems incompatible with the kind of “processual” thinking which is typical for Beethoven’s music. This paper addresses such incompatibility through a comparison of the slow movements of Schubert’s piano sonata D 840 with those of Beethoven’s piano sonata No. 8 (op. 13) which is one of the possible precursors for D 840. The second movement of D 840 features an ABABA structure in which the themes of the first part A and the first part B become integrated into the second part A. This kind of integration differs fundamentally from the design of Beethoven’s op. 13, insofar as the two themes are combined while they also maintain their initial form. This mode of combination suggests Schubert’s own type of synthetic or “processual” thinking.
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Reichwald, Siegwart. "Die Leiden der jungen Clara: Das Klaviertrio Opus 17 als Ausdruck einer Neu-Romantikerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.69.
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Two reasons precipitated the move of the Schumanns to Dresden: Robert Schumann’s health and the reconciliation with Clara Schumann’s father. Yet Dresden quickly turned into disappointment: Robert’s mental condition worsened, relations with her father deteriorated. Burdened with familial responsibilities and no time for concert tours, Clara found expression in her most ambitious and melancholic composition, creating one of the most individualistic and innovative chamber works of her generation. Central to this narratological reading is the composer’s use of the Clara theme (diatonically descending fifth) and its many derivatives throughout the work. Substantial revisions found in the autograph (RSH 12897-A1) present obvious clues about overarching thematic and harmonic strategies and early reviews emphasizing the composer’s individualistic voice offer further hermeneutic insights. To express her disappointing Dresden experience defiantly, Clara explored the possibilities of thematic integration among all four movements as well as a super-imposed sonata form design across the whole work.
Reports on the topic "Symphonies Sonata form Sonata form"
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.