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Books on the topic 'Symphonies Sonata form Sonata form'

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Published: 4 June 2021
Last updated: 5 February 2022

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1

Rainer, Bayreuther, ed. Anweisung zum Generalbassspielen. Laaber: Laaber-Verlag, 2005.

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2

Sonata forms. New York: Norton, 1988.

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3

Sonata forms. New York: Norton, 1988.

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4

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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5

Die Sonate: Geschichte, Formen, Ästhetik. Kassel: Bärenreiter, 2006.

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6

The early works of Felix Mendelssohn: A study in the romantic sonata style. Philadelphia: Gordon and Breach, 1992.

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7

Pfann, Walter. Zur Sonatengestaltung im Spätwerk Maurice Ravels: (1920-1932). Regensburg: G. Bosse, 1991.

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8

Heitmann, Christin. Die Orchester- und Kammermusik von Louise Farrenc: Vor dem Hintergrund der zeitgenössischen Sonatentheorie. Wilhelmshaven: F. Noetzel, 2004.

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9

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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10

Hinrichsen, Hans-Joachim. Untersuchungen zur Entwicklung der Sonatenform in der Instrumentalmusik Franz Schuberts. Tutzing: Schneider, 1994.

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11

Bauman-Szulakowska, Jolanta. Forma sonatowa w XIX i w pierwszej połowie XX wieku: Przygląd [i.e. przegląd] historyczny i analityczny : gatunek koncertu od baroku do neoklasycyzmu. Katowice: Akademia Muzyczna im. Karola Szymanowskiego, 2003.

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12

Bauman-Szulakowska, Jolanta. Forma sonatowa w XIX i w pierwszej połowie XX wieku: Przygląd [i.e. przegląd] historyczny i analityczny : gatunek koncertu od baroku do neoklasycyzmu. Katowice: Akademia Muzyczna im. Karola Szymanowskiego, 2003.

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13

Perevod s ivrita: Stikhi. Sabkt-Peterburg: Kanon, 1998.

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14

Hepokoski, James A. Elements of sonata theory: Norms, types, and deformations in the late eighteenth-century sonata. New York, NY: Oxford University Press, 2006.

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15

Warren, Darcy, ed. Elements of sonata theory: Norms, types, and deformations in the late eighteenth-century sonata. New York: Oxford University Press, 2006.

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16

Mizerska-Golonek, Ewa. Wprowadzenie do analizy formy sonatowej: Kształtowanie materiału dźwiękowego a przebieg napięć w muzyce klasycznej. [Kraków]: Akademia Muzyczna w Krakowie, 1987.

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17

Studien zum Verhältnis von Harmonik, Metrik und Form in den Klaviersonaten Ludwig van Beethovens. München: E. Katzbichler, 1987.

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18

Protopopov, Vladimir Vasilʹevich. Istorii︠a︡ sonatnoĭ formy: Sonatnai︠a︡ forma v russkoĭ muzyke. Moskva: Muzyka, 2010.

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19

Dell'Antonio, Andrew. Syntax, form, and genre in sonatas and canzonas, 1621-1635. Lucca: Libreria musicale italiana, 1991.

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20

Syntax, form and genre in sonatas and canzonas 1621-1635. Lucca: Libreria musicale italiana, 1997.

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21

Tjøme, Berit Kvinge. The articulation of sonata form in atonal works of Fartein Valen: Analyses of his Violin concerto, op. 37 and Symphony no. 3, op. 41. Oslo: Unipub, 2002.

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22

Reiter, Elisabeth. Der Sonatensatz in der späten Kammermusik von Brahms: Einheit und Zusammenhang in variativen Verfahren. Tutzing: Schneider, 2000.

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23

Waldura, Markus. Monomotivik, Sequenz und Sonatenform im Werk Robert Schumanns. Saarbrücken: Saarbrücker Druckerei und Verlag, 1990.

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24

Sinfonieexpositionen des 18. Jahrhunderts: Formbildung und Ästhetik. Kassel: Bärenreiter, 2000.

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25

Zwischen Beethoven und Brahms: Die Violoncello-Sonate im 19. Jahrhundert. Kassel: Bärenreiter, 2006.

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26

Schubert, la forme sonate et son évolution. Berne: P. Lang, 1996.

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27

Mamedova, R. A. Problemy funkt͡s︡ionalʹnosti v azerbaĭdzhanskom mugame. Baku: Ėlm, 1989.

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28

Straus, Joseph Nathan. Remaking the past: Musical modernism and the influence of the tonal tradition. Cambridge, Mass: Harvard University Press, 1990.

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29

Cecchi, Alessandro. Forming Form through Force. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199316090.003.0005.

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This chapter identifies connections between the formal strategies used in both Bruckner’s and Mahler’s symphonies. Its point of departure is the ‘energetic’ theory of musical form developed by Ernst Kurth in his monograph on Bruckner (1925), particularly the idea of the ‘intensifying wave’. On that basis it confronts the formal strategies of the first movements of Bruckner’s Ninth and Mahler’s First symphonies, focusing on the relationship between the structural disposition of ‘intensification processes’ and the deliberate blurrings of traditional formal boundaries based on ‘sonata form’. In the mentioned symphonies of Mahler and Bruckner, composition emerges as a ‘force field’ where sonata form does have a role to play, provided it is viewed not as an abstract scheme but as a concrete spectrum of compositional choices in continuous interaction with other instances, particularly a structural principle based on the disposition of intensification processes and the reaching of climaxes.
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30

Mahler's Symphonic Sonatas. Oxford University Press, Incorporated, 2015.

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31

Brehy, Petrus Hercules. Instrumental Works from the Library of the Royal Conservatories, Brussels. Edited by Lewis Reece Baratz. A-R Editions, 2021. http://dx.doi.org/10.31022/b215.

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Brussels native Petrus Hercules Brehy (1673–1737) composed twelve sonatas for two violins, viola, basso viola, and continuo around 1715–22, and two sonatas for five instruments and continuo approximately ten years later, all during his tenure as zangmeester of the Collegiate Church of SS. Michael and Gudula. Since 1929 the autograph manuscripts have been conserved at the Library of the Royal Conservatories of Music, Brussels. Unlike Brehy's earlier symphonias, these were not published during his lifetime and were written to be played by a mix of professional musicians, able clerics, and older choirboys. Six of the twelve sonatas for four instruments and continuo reflect the earlier polyphonic ensemble sonata da chiesa of the late seventeenth century, four feature the violin in more flamboyant soloistic passagework, and two contain elements of both idioms. The two sonates à 5 are consistent with the late Baroque international style. All the sonatas in this volume reflect the somewhat conservative religious style of a Habsburg Empire territory capital during the early eighteenth century.
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32

Sonata Form: An Introduction. Detselig Enterprises, 1987.

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33

Hadow, W. H. Sonata Form (Music Primers). Library Reprints, 2001.

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34

Tobin, Joseph Raymond. Mozart and the Sonata Form. Library Reprints, 2001.

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35

Die Sonate. Buch & media, 2003.

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36

The Sonata Cambridge Introductions to Music. Cambridge University Press, 2011.

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37

1958-, Sly Gordon Cameron, ed. Keys to the drama: Nine perspectives on sonata forms. Burlington, VT: Ashgate, 2009.

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38

Analyzing Classical Form. Oxford University Press Inc, 2013.

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39

Two-dimensional sonata form: Form and cycle in single-movement instrumental works by Liszt, Strauss, Schoenberg, and Zemlinsky. Leuven, 2009.

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40

Yust, Jason. Reforming Formal Analysis. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696481.003.0012.

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A number of important questions about the theory of form are addressed: the definition of phrase, ritornello form, form as recipe versus form as structure, and the classification of codas. Disputes over the definition of phrase come might be resolved by replacing the rigid task of locating phrase boundaries to one of distinguishing more neatly phrased music, with coordinated structures, to less neatly phrased music. Ritornello form is distinguished from sonata form, and its history as a symphonic form is discussed. An argument is made for separating the theory of form from the study of formal recipes, exemplified surveys of works by Galuppi, Richter, Boccherini, Haydn, and Mozart. Finally, the network model of structure is applied to introductions and codas, leading to a classification of codas into adjunct, integrated, and disjunctive types.
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41

Claus, Bockmaier, and Mauser Siegfried, eds. Die Sonate: Formen instrumentaler Ensemblemusik. Laaber: Laaber-Verlag, 2005.

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42

Haydn's And Mozart's Sonata Styles: A Comparison (Studies in the History and Interpretation of Music). Edwin Mellen Press, 2005.

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43

Marks, F. Helena. The Sonata, Its Form and Meaning As Exemplified in the Piano Sonatas. Library Reprints, 2001.

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44

Analyzing Classical Form: An Approach for the Classroom. Oxford University Press, Incorporated, 2013.

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45

Waltham-Smith, Naomi. The Form of Community. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190662004.003.0005.

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This chapter engages with the recent resurgence of Formenlehre in music theory, asking how sonata form is a model for a politics of community. Specifically, it considers how ambiguity around framing functions and the suppression of structural harmonic articulations in Beethoven’s late quartets deconstruct the oppositions around which sonata form is held to operate. The notion of relationality that then emerges is compared to concepts of fraternity and friendship as the basis for the construction of political community. This ties in the deconstructive strategies in the book with one of the central themes of the French Revolution.
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46

Hepokoski, James. A Sonata Theory Handbook. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536810.001.0001.

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A Sonata Theory Handbook is a step-by-step, seminar-like introduction to Sonata Theory, a new approach to the study and interpretation of sonata form. The book updates and advances the outline of the method first presented in Hepokoski and Darcy’s 2006 Elements of Sonata Theory. It blends explanations of the theory’s general principles—dialogic form, expositional action zones, trajectories toward generically normative cadences, rotation theory, the five sonata types, the special case of the minor-mode sonata, and more—with illustrations of them in practice through close, extended analyses of eight individual movements by Mozart, Haydn, Beethoven, Schubert, and Brahms. Central to the method is the merging of historically informed, technical analysis with the concerns of hermeneutic interpretation. The book features an inclusive engagement with recent developments in form theory, schema theory, and other related studies since 2006, including some of the language and insights of cognitive research into music perception and the more generalized concerns of conceptual metaphor theory. It ultimately builds to reflections on sonata form in the romantic era: the flexible applicability of Sonata Theory to mid- and late-nineteenth-century works.
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47

Anger, Joseph Humfrey. Form in Music With a Special Reference to the Bach Fugue and the Beethoven Sonata. Library Reprints, 2001.

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48

Yust, Jason. Hypermeter, Form, and Closure. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696481.003.0008.

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Closural strength of cadences is an important syntactic feature of tonal music, and is traditionally defined by means of harmonic and melodic, but not rhythmic, features. This chapter discusses the importance of hypermeter to the effect of closure, focusing especially on the important role of cadential elision in preventing closure. The denial of closure via elision is important at the end of the sonata form expositions. Separation of rhythmic, formal, and tonal closure as distinct phenomena informs recent debates on this topic. Beethoven’s use of hypermetrical means to deny closure was an important stage in his development of new approaches to musical form in his middle period, specifically the method of open expositions.
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49

Gann, Kyle. The Story of the Concord Sonata, 1911–1947. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252040856.003.0001.

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Ives first conceived the Concord Sonata while on vacation at Elk’s Lake in 1911, based in part on pieces he had already been working on. He claimed to have been able to play the piece by 1915, though it wasn’t written out in publishable form until 1919. After publication he came to regret having simplified the piece somewhat, and he continued tinkering with it until a second edition finally appeared in 1947. This extraordinarily long gestation period creates unusual textual problems for performers of the work.
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50

Agawu, Kofi. Topics and Form in Mozart’s String Quintet in e Flat Major, k. 614/i. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0018.

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This chapter explores the nature of the relationship between topics (understood, following Leonard Ratner, as “subject[s] to be incorporated into a musical discourse”) and form. An introductory section notes the sometimes precarious disposition of topics and acknowledges the heterogeneous nature of the topical universe. This is followed by a description of the role of topics in each of the fifteen periods that make up this sonata-form movement. In addition to confirming that topics typically give profile to tonal-harmonic and phrase-structural processes, the analysis notes the relationship between topics and theme, the stylistic implications of topical usage, and the temporal character of topics.
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