11962nam 2200793Ia 450 991080790120332120240430174259.01-282-27070-20-19-514640-90-19-803345-197866122707031-4294-2049-99780195146400(CKB)2560000000296438(SSID)ssj0000145387(PQKBManifestationID)11164770(PQKBTitleCode)TC0000145387(PQKBWorkID)10156295(PQKB)11293704(SSID)ssj0000634597(PQKBManifestationID)12220210(PQKBTitleCode)TC0000634597(PQKBWorkID)10642487(PQKB)11712842(StDuBDS)EDZ0000034503(Au-PeEL)EBL430430(CaPaEBR)ebr10160614(CaONFJC)MIL227070(OCoLC)437114824(MiAaPQ)EBC430430(dli)HEB06334(MiU) MIU01100000000000000000135(EXLCZ)99256000000029643820050307d2006 uy 0engur|||||||||||txtccrElements of sonata theory norms, types, and deformations in the late eighteenth-century sonata /James Hepokoski, Warren Darcy1st ed.Oxford ;New York Oxford University Press20061 online resource (xxix, 661 p.) ill., musicBibliographic Level Mode of Issuance: Monograph0-19-977391-2 0-19-985098-4 Includes bibliographical references (p. 623-631) and indexes.Intro -- Contents -- Terms and Abbreviations -- About the Authors -- ONE: Contexts -- Differing Approaches to Sonata Form -- The War against the Textbooks -- Sonata Theory: Introductory Remarks -- TWO: Sonata Form as a Whole: Foundational Considerations -- Exposition -- Development -- Recapitulation -- Repetition Schemes -- THREE: The Medial Caesura and the Two-Part Exposition -- The Two-Part Exposition -- The Medial Caesura (MC): Definitions and Overview -- The Medial Caesura: Harmonic Defaults -- The Medial Caesura: Common Characteristics -- The Deployment Sequence of Medial Caesura Options -- Caesura-Fill (CF) -- Medial Caesura Declined -- Deformation: The Blocked Medial Caesura -- Troubleshooting MC Identifications -- FOUR: The Continuous Exposition -- Continuous Exposition Subtype 1 ("Expansion-Section" Subtype) -- Continuous Exposition Subtype 2: Early PAC in the New Key Followed by (Varied) Reiterations of the Cadence -- Difficult Cases: Incipient or Not-Fully-Realized Medial Caesuras -- FIVE: The Primary Theme (P) -- Structure -- Thematic/Modular Designations: Numberings -- Exceptions in Thematic Numberings -- "Zero-Modules": General Considerations -- Tonal Under- and Overdetermination -- Some Special P-Types -- P as Grand Antecedent -- Mozartian "Loops": A Specialized Variant of the Sentence -- P[sup(0)]- and P[sup(1.0)]-Modules/Themes -- The "Circular" 8-(omitted)7- 6- (omitted)7- 8 Pattern in P-Space -- P[sup(gen)] and P[sup(tel)] Themes -- SIX: The Transition (TR) -- When Does a Transition Begin? -- Common Transition Strategies: The Independent and Developmental Types -- The Independent (Separately Thematized) Transition -- The Developmental Transition -- Common Transition Strategies: The "Dissolving" Types -- The Dissolving Restatement -- The Dissolving Consequent.Period with Dissolving-Consequent Restatement (or Sentence with Dissolving-Continuation Restatement) -- The Dissolving P-Codetta: Reiterated Cadences (Dissolving Cadential Reinforcement) -- The Dissolving P-Codetta: Tonic Prolongation via the "Circular" 8- (omitted)7- 6- (omitted)7- 8 Model -- Sentence with Dissolving Continuation Module -- The Dissolving Hybrid -- Larger, Rounded Structure (ABA', aa'ba'') with Dissolving Reprise -- Special Minor-Mode and Other Mixed Cases -- Premature or Delayed Tutti Affirmations -- Other Problematic TR-Issues -- Tutti-Affirmation Full Restatements: One or More I:PACs within TR -- TR Rhetoric Lacking? The Modulating Consequent -- TR Rhetoric Lacking? Multiple Phrases Ending HC Eventually Lead to S -- TR Rhetoric Lacking? P Ends with I:PAC or I:IAC and S Follows Directly -- TR as Energy-Loss? -- SEVEN: The Secondary Theme (S) and Essential Expositional Closure (EEC): Initial Considerations -- Historical Discussions of P- and S-Space -- Tonal Choices for S -- Essential Expositional Closure: The First-PAC Rule -- Proportions of S- and C-Space -- Structure -- Theme Types within Allegro Movements -- The Bustling, Staccato, Energetically Galant, or Jauntily Self-Confident S -- The Lyrically "Singing" or Gracefully Cantabile S -- The P-Based S -- S as "Contrasting Derivation" from P -- The Forte S -- S as Virtuosic Figuration -- The "Learned-Style" or Fugal/Imitative S -- The Multimodular S (MMS): Lengthy S-Themes (or S-Modular Groups) -- P- or TR-Material in the Interior of S-Zones -- Minor-Mode Modules within S -- S[sup(0)] and S[sup(1.0)] Themes -- S[sup(0)] or S[sup(1.0)] Following a V:HC Medial Caesura (or III:HC in Minor-Mode Sonatas) -- S[sup(0)] or S[sup(1.0)] Following a I:HC Medial Caesura in Major-Mode Sonatas -- Other S[sup(0)] and S[sup(1.0)] Types -- Additional Issues within S-Space.Gendered S-Themes? (Masculine/Feminine) -- Some Schenkerian Implications -- EIGHT: S-Complications: EEC Deferral and Apparent Double Medial Caesuras (TMB) -- Retrospective Reopenings of the First PAC with Following Material -- Repetition of the Immediately Preceding S-Melody or Its Concluding Portion -- Persistence of S-Material Past the First PAC -- Revitalization of a Portion of S- (or FS-) Material after Starting a New Module -- Production of an Additional MC-Effect or Nonelided Cadence Shortly into Presumed C-Space -- Problems with a Potential First PAC: Ineffective or Weakened Cadences -- The First PAC Arrives "Too Early" -- The Implied S-Zone Is Contextually Too Underdeveloped -- Thematic "Loops" -- Substitution of an Imperfect Authentic Cadence (IAC) for the More Usual PAC -- The Evaded PAC -- The Attenuated PAC -- Apparent Double Medial Caesuras: The Trimodular Block (TMB) -- Deformation: Failed Expositions -- No Secured EEC within the Exposition -- Failed Exposition: EEC-Substitute in the Wrong Key -- NINE: The Closing Zone (C) -- The "Non-S-ness" of C -- Exceptions -- C as S-Aftermath -- C-Theme Types -- Codetta-Module[s] -- The P-Based C -- The TR-Based C -- New Theme as C -- Crescendo-Module as Onset of C -- Concluding C-Module as Piano Afterthought -- C[sup(0)] Themes -- S[sup(c)] Themes: Apparent C-Zones in the Absence of an EEC -- The Retransition -- TEN: The Development (Developmental Space) -- Tonal Layout -- The Development as a Whole -- Substitutes for V[sub(A)] at the End of the Development (Lower-Level Defaults) -- Rhetorical/Thematic Layout: Developmental Rotations -- Developmental Rotations: First Principles -- The Onset of the Development -- P-Material as the Norm -- Fifth-Descents -- Episodic Openings: "Writing Over" -- C-Based Openings -- S-Based Openings -- Developmental Rotation Types -- Half-Rotations: P-TR.Half-Rotations: S-C? -- Double Rotations -- Double or Triple Half-Rotations -- Episodic Interpolations or Substitutes in the Center of the Developmental Space -- Tonic-Centered Episodes -- Introductory Material in Developments -- "Slow-Movement" Episodes within Allegro-Tempo Movements (or Slow Movement as Development) -- The "False-Recapitulation Effect" -- The Continuum of Haydn's "False-Recapitulation Effect" -- The Off-Tonic False-Recapitulation Effect -- Interpreting Developments: Models for Analysis -- Topical Dramas: The Ordering of Established Rhetorical "Topics" -- Sequence-Blocks: The Ratz-Caplin Model -- Sonata Theory: Overview of Typical Pathways for the Developmental Space -- ELEVEN: The Recapitulation (Recapitulatory Space -- Recapitulatory Rotation) -- What Qualifies as a Recapitulation? -- ESC: Tonic Presence and the Precipitation of the Tonic as a Crystallized Reality -- Recompositions, Reorderings, Interpolations -- The Recapitulatory TR -- Altered MC Treatments in the Recapitulation -- "Wrong-Key" Starts for S -- The Crux -- Correspondence Measures and the Crux -- Correspondence Measures and Referential Measures -- The "Sonata Principle": A Problematic Concept -- What Needs to Be Resolved in the Recapitulation? -- The Fallacies of "Closer Relation" and a "Resolving" Fifth-Transposition -- Nonresolving Recapitulations: S Does Not Attain the ESC -- Recapitulations with an S That Fails -- Truncated Recapitulations: Suppression of the S-C Block -- The Larger Role of the Recapitulation within the Sonata -- Tonal Potential, Tonic Presence -- Narrative Implications: The Sonata as Metaphor for Human Action -- TWELVE: Non-Normative Openings of the Recapitulatory Rotation: Alternatives and Deformations -- Recapitulations That Appear to Begin after P[sup(1.1)] -- The "Disjunct" Recapitulation?.Non-"Disjunct" Recapitulations That Appear to Begin with Tonic- P[sup(1.2)], P[sup(2)], or TR -- Rhetorical Recapitulations Beginning in the Parallel Mode -- Rhetorical Recapitulations Beginning in a Nontonic Key -- False Starts -- Recapitulatory Rotations That Begin in IV -- Recapitulatory Rotations That Begin in vi, VI, or (omitted)VI -- Recapitulatory Rotations That Begin in V -- Recapitulatory Rotations That Begin in Other Keys -- Double-Recapitulation Effects? -- THIRTEEN: Parageneric Spaces: Coda and Introduction -- The Coda -- Definitions, Traditional Views -- Thematic-Rhetorical Material in Codas: Rotational Implications -- Discursive Codas -- Characteristic Functions of the Discursive Coda -- Expanded C-Space and Coda-Rhetoric Interpolation (CRI) -- The Introduction -- Slow Introductions and Genre or Movement Types -- Characteristic Zones within a Slow Introduction -- Variants and Later Deformations of the "Slow" Introduction -- Expressive or Representational Functions -- The Introduction-Coda Frame -- FOURTEEN: Sonata Form in Minor Keys -- The Extra Burden of Minor-Mode Sonatas -- Major and Minor as Binary Opposites (Positive and Negative) -- Expositions in the Minor Mode: EEC in III -- Recapitulations and Codas in Sonatas with Expositions of the i-III Type -- Expositions in the Minor Mode: EEC in v (the Minor Dominant) -- (Nineteenth-Century) Expositions in the Minor Mode: EEC in VI -- FIFTEEN: The Three- and Four-Movement Sonata Cycle -- Number of Movements -- First Movement -- Slow Movement -- Key Choice in Slow Movements: Major-Mode Sonatas -- Key Choice in Slow Movements: Minor-Mode Sonatas -- Minuet/Scherzo -- Potential Correspondences with the First Movement -- Expressive Connotations: Minuets and Scherzos -- Major and Minor Modes -- The Nontonic Minuet/Scherzo -- The Key and Character of the Trio.Deferral of the ESC in Compound Ternary (ABA) Forms.Both building on and departing from earlier methods of analysis this study provides a comprehensive and in-depth examination of the sonata genre. After establishing the normative features of the sonata, the authors examine how individual sonatas adhere to and deviate from those standards.Norms, types, and deformations in the late-eighteenth-century sonataSonata formInstrumental music18th centuryAnalysis, appreciationSonata form.Instrumental musicAnalysis, appreciation.784.18309033Hepokoski James A(James Arnold),1946-764242Darcy Warren764243MiAaPQMiAaPQMiAaPQBOOK9910807901203321Elements of sonata theory1551447UNINA