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Analyzing classical form : an approach for the classroom / / William E. Caplin
Analyzing classical form : an approach for the classroom / / William E. Caplin
Autore Caplin William Earl <1948->
Pubbl/distr/stampa New York : , : Oxford University Press, , 2013
Descrizione fisica 1 online resource (759 p.)
Disciplina 784.18
Soggetto topico Musical form
Sonata form
Musical analysis
Classicism in music
Soggetto genere / forma Electronic books.
ISBN 0-19-974718-0
0-19-998730-0
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Nota di contenuto Cover; Contents; Preface; About the Companion Website; 1 A Review of Harmony; The Basics; Harmonic Vocabulary; Harmonic Progressions; Let's Practice; More Details; Tonic Function; Dominant Function; Pre-dominant Function; Prolongational Progressions; Cadential Progressions; Sequential Progressions; Guide to Harmonic Annotation; Reviewing the Theory; Examples for Analysis; PART I: CONVENTIONAL THEME TYPES; 2 The Sentence; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 3 The Period; The Basics; Let's Practice; More Details
Finer PointsReviewing the Theory; Examples for Analysis; Model Composition; 4 Hybrid Themes; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 5 Phrase Deviations, Cadential Deviations, and Framing Functions; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 6 Compound Themes; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 7 The Small Ternary (Rounded Binary); The Basics
Let's PracticeMore Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 8 The Small Binary; The Basics; Let's Practice; More Details; Reviewing the Theory; Examples for Analysis; Model Composition; PART II: SONATA FORM; 9 Sonata Form: An Overview; Large-scale Formal Structure; Large-scale Tonal Structure; Exposition; Let's Practice; Development; Let's Practice; Recapitulation; Let's Practice; 10 Exposition (I): Main Theme; The Basics; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 11 Exposition (II): Transition; The Basics
Let's PracticeMore Details; Finer Points; Reviewing the Theory; Examples for Analysis; 12 Exposition (III): Subordinate Theme; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 13 Development; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 14 Recapitulation; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 15 Coda; The Basics; Let's Practice; More Details; Reviewing the Theory; Examples for Analysis; 16 Slow Introduction; The Basics
Let's PracticeMore Details; Reviewing the Theory; Examples for Analysis; PART III: OTHER FULL-MOVEMENT FORMS; 17 Slow-Movement Forms; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 18 Minuet/Trio Form; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 19 Rondo Forms; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 20 Concerto Form; The Basics; Let's Practice; More Details; Reviewing the Theory; Examples for Analysis; Notes
Glossary of Terms
Record Nr. UNINA-9910453103303321
Caplin William Earl <1948->  
New York : , : Oxford University Press, , 2013
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
Analyzing classical form : an approach for the classroom / / William E. Caplin
Analyzing classical form : an approach for the classroom / / William E. Caplin
Autore Caplin William Earl <1948->
Pubbl/distr/stampa New York : , : Oxford University Press, , 2013
Descrizione fisica 1 online resource (759 p.)
Disciplina 784.18
Soggetto topico Musical form
Sonata form
Musical analysis
Classicism in music
ISBN 0-19-974718-0
0-19-998730-0
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Nota di contenuto Cover; Contents; Preface; About the Companion Website; 1 A Review of Harmony; The Basics; Harmonic Vocabulary; Harmonic Progressions; Let's Practice; More Details; Tonic Function; Dominant Function; Pre-dominant Function; Prolongational Progressions; Cadential Progressions; Sequential Progressions; Guide to Harmonic Annotation; Reviewing the Theory; Examples for Analysis; PART I: CONVENTIONAL THEME TYPES; 2 The Sentence; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 3 The Period; The Basics; Let's Practice; More Details
Finer PointsReviewing the Theory; Examples for Analysis; Model Composition; 4 Hybrid Themes; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 5 Phrase Deviations, Cadential Deviations, and Framing Functions; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 6 Compound Themes; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 7 The Small Ternary (Rounded Binary); The Basics
Let's PracticeMore Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 8 The Small Binary; The Basics; Let's Practice; More Details; Reviewing the Theory; Examples for Analysis; Model Composition; PART II: SONATA FORM; 9 Sonata Form: An Overview; Large-scale Formal Structure; Large-scale Tonal Structure; Exposition; Let's Practice; Development; Let's Practice; Recapitulation; Let's Practice; 10 Exposition (I): Main Theme; The Basics; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 11 Exposition (II): Transition; The Basics
Let's PracticeMore Details; Finer Points; Reviewing the Theory; Examples for Analysis; 12 Exposition (III): Subordinate Theme; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 13 Development; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 14 Recapitulation; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 15 Coda; The Basics; Let's Practice; More Details; Reviewing the Theory; Examples for Analysis; 16 Slow Introduction; The Basics
Let's PracticeMore Details; Reviewing the Theory; Examples for Analysis; PART III: OTHER FULL-MOVEMENT FORMS; 17 Slow-Movement Forms; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 18 Minuet/Trio Form; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 19 Rondo Forms; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 20 Concerto Form; The Basics; Let's Practice; More Details; Reviewing the Theory; Examples for Analysis; Notes
Glossary of Terms
Record Nr. UNINA-9910790634803321
Caplin William Earl <1948->  
New York : , : Oxford University Press, , 2013
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
Analyzing classical form : an approach for the classroom / / William E. Caplin
Analyzing classical form : an approach for the classroom / / William E. Caplin
Autore Caplin William Earl <1948->
Pubbl/distr/stampa New York : , : Oxford University Press, , 2013
Descrizione fisica 1 online resource (759 p.)
Disciplina 784.18
Soggetto topico Musical form
Sonata form
Musical analysis
Classicism in music
ISBN 0-19-974718-0
0-19-998730-0
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Nota di contenuto Cover; Contents; Preface; About the Companion Website; 1 A Review of Harmony; The Basics; Harmonic Vocabulary; Harmonic Progressions; Let's Practice; More Details; Tonic Function; Dominant Function; Pre-dominant Function; Prolongational Progressions; Cadential Progressions; Sequential Progressions; Guide to Harmonic Annotation; Reviewing the Theory; Examples for Analysis; PART I: CONVENTIONAL THEME TYPES; 2 The Sentence; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 3 The Period; The Basics; Let's Practice; More Details
Finer PointsReviewing the Theory; Examples for Analysis; Model Composition; 4 Hybrid Themes; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 5 Phrase Deviations, Cadential Deviations, and Framing Functions; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 6 Compound Themes; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 7 The Small Ternary (Rounded Binary); The Basics
Let's PracticeMore Details; Finer Points; Reviewing the Theory; Examples for Analysis; Model Composition; 8 The Small Binary; The Basics; Let's Practice; More Details; Reviewing the Theory; Examples for Analysis; Model Composition; PART II: SONATA FORM; 9 Sonata Form: An Overview; Large-scale Formal Structure; Large-scale Tonal Structure; Exposition; Let's Practice; Development; Let's Practice; Recapitulation; Let's Practice; 10 Exposition (I): Main Theme; The Basics; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 11 Exposition (II): Transition; The Basics
Let's PracticeMore Details; Finer Points; Reviewing the Theory; Examples for Analysis; 12 Exposition (III): Subordinate Theme; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 13 Development; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 14 Recapitulation; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 15 Coda; The Basics; Let's Practice; More Details; Reviewing the Theory; Examples for Analysis; 16 Slow Introduction; The Basics
Let's PracticeMore Details; Reviewing the Theory; Examples for Analysis; PART III: OTHER FULL-MOVEMENT FORMS; 17 Slow-Movement Forms; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 18 Minuet/Trio Form; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 19 Rondo Forms; The Basics; Let's Practice; More Details; Finer Points; Reviewing the Theory; Examples for Analysis; 20 Concerto Form; The Basics; Let's Practice; More Details; Reviewing the Theory; Examples for Analysis; Notes
Glossary of Terms
Record Nr. UNINA-9910808841903321
Caplin William Earl <1948->  
New York : , : Oxford University Press, , 2013
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
Elements of sonata theory [[electronic resource] ] : norms, types, and deformations in the late eighteenth-century sonata / / James Hepokoski, Warren Darcy
Elements of sonata theory [[electronic resource] ] : norms, types, and deformations in the late eighteenth-century sonata / / James Hepokoski, Warren Darcy
Autore Hepokoski James A (James Arnold), <1946->
Pubbl/distr/stampa Oxford ; ; New York, : Oxford University Press, 2006
Descrizione fisica 1 online resource (xxix, 661 p.) : ill., music
Disciplina 784.18309033
Altri autori (Persone) DarcyWarren
Soggetto topico Sonata form
Instrumental music - 18th century - Analysis, appreciation
Soggetto genere / forma Electronic books.
ISBN 1-282-27070-2
0-19-514640-9
0-19-803345-1
9786612270703
1-4294-2049-9
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Record Nr. UNISA-996248322103316
Hepokoski James A (James Arnold), <1946->  
Oxford ; ; New York, : Oxford University Press, 2006
Materiale a stampa
Lo trovi qui: Univ. di Salerno
Opac: Controlla la disponibilità qui
Elements of sonata theory [[electronic resource] ] : norms, types, and deformations in the late eighteenth-century sonata / / James Hepokoski, Warren Darcy
Elements of sonata theory [[electronic resource] ] : norms, types, and deformations in the late eighteenth-century sonata / / James Hepokoski, Warren Darcy
Autore Hepokoski James A (James Arnold), <1946->
Pubbl/distr/stampa Oxford ; ; New York, : Oxford University Press, 2006
Descrizione fisica 1 online resource (xxix, 661 p.) : ill., music
Disciplina 784.18309033
Altri autori (Persone) DarcyWarren
Soggetto topico Sonata form
Instrumental music - 18th century - Analysis, appreciation
Soggetto genere / forma Electronic books.
ISBN 1-282-27070-2
0-19-514640-9
0-19-803345-1
9786612270703
1-4294-2049-9
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Record Nr. UNINA-9910465832403321
Hepokoski James A (James Arnold), <1946->  
Oxford ; ; New York, : Oxford University Press, 2006
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
Elements of sonata theory [[electronic resource] ] : norms, types, and deformations in the late eighteenth-century sonata / / James Hepokoski, Warren Darcy
Elements of sonata theory [[electronic resource] ] : norms, types, and deformations in the late eighteenth-century sonata / / James Hepokoski, Warren Darcy
Autore Hepokoski James A (James Arnold), <1946->
Pubbl/distr/stampa Oxford ; ; New York, : Oxford University Press, 2006
Descrizione fisica 1 online resource (xxix, 661 p.) : ill., music
Disciplina 784.18309033
Altri autori (Persone) DarcyWarren
Soggetto topico Sonata form
Instrumental music - 18th century - Analysis, appreciation
ISBN 1-282-27070-2
0-19-514640-9
0-19-803345-1
9786612270703
1-4294-2049-9
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Altri titoli varianti Norms, types, and deformations in the late-eighteenth-century sonata
Record Nr. UNINA-9910792230503321
Hepokoski James A (James Arnold), <1946->  
Oxford ; ; New York, : Oxford University Press, 2006
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
Elements of sonata theory : norms, types, and deformations in the late eighteenth-century sonata / / James Hepokoski, Warren Darcy
Elements of sonata theory : norms, types, and deformations in the late eighteenth-century sonata / / James Hepokoski, Warren Darcy
Autore Hepokoski James A (James Arnold), <1946->
Edizione [1st ed.]
Pubbl/distr/stampa Oxford ; ; New York, : Oxford University Press, 2006
Descrizione fisica 1 online resource (xxix, 661 p.) : ill., music
Disciplina 784.18309033
Altri autori (Persone) DarcyWarren
Soggetto topico Sonata form
Instrumental music - 18th century - Analysis, appreciation
ISBN 1-282-27070-2
0-19-514640-9
0-19-803345-1
9786612270703
1-4294-2049-9
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Nota di contenuto 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.
Altri titoli varianti Norms, types, and deformations in the late-eighteenth-century sonata
Record Nr. UNINA-9910807901203321
Hepokoski James A (James Arnold), <1946->  
Oxford ; ; New York, : Oxford University Press, 2006
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
The sonata / / Thomas Schmidt-Beste [[electronic resource]]
The sonata / / Thomas Schmidt-Beste [[electronic resource]]
Autore Schmidt Thomas (Musicologist)
Pubbl/distr/stampa Cambridge : , : Cambridge University Press, , 2011
Descrizione fisica 1 online resource (xiii, 263 pages) : digital, PDF file(s)
Disciplina 784.18/3
Collana Cambridge introductions to music
Soggetto topico Sonata
Sonata form
ISBN 1-107-30103-3
1-107-21684-2
1-107-25354-3
1-107-30611-6
0-511-97429-9
1-107-30831-3
1-107-31386-4
1-299-27629-6
1-107-31166-7
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Nota di contenuto Cover; Cambridge Introductions to Music: The Sonata; Title; Copyright; Contents; Musical examples; Tables; Preface; Chapter 1 Definitions; 1.1 Sonata and canzona; 1.2 Sonata and sinfonia; 1.3 Sonata and concerto; 1.4 Sonata and suite/partita; 1.5 The sonata and free instrumental genres: toccata - ricercar - capriccio - fantasia; 1.6 Summary: instrumentation, form, texture or function?; Chapter 2 Form; 2.1 The 'free' sonata in the seventeenth century; 2.2 Corelli and his legacy; 2.2.1 The sonata da chiesa; 2.2.2 The sonata da camera; 2.2.3 Corelli's followers in the eighteenth century
2.2.4 Regional traditions2.3 Sonata cycles and 'sonata form' after 1750; 2.3.1 Fast movements: 'sonata form' and related categories; 2.3.1.1 From dance form to sonata form; 2.3.1.2 Terminology; 2.3.1.3 The exposition; 2.3.1.4 The development; 2.3.1.5 The recapitulation; 2.3.1.6 The re-entry; 2.3.1.7 The transition; 2.3.1.8 The recapitulation as a result of events in the exposition and development; 2.3.1.9 Extra options: slow introduction and coda; 2.3.2 Sonata form - bipartite or tripartite?; 2.3.3 Slow movements; 2.3.4 Minuet and scherzo; 2.3.5 Finales
2.4 Beethoven's sonatas - consummating or transcending Classical form?2.4.1 Construction of themes and their elaboration; 2.4.1.1 Types of theme; 2.4.1.2 Thematic contrast and thematic derivation; 2.4.1.3 Elaboration and transformation of themes and motives; 2.4.2 Slow introduction and coda; 2.4.3 Manipulations of the tonal process; 2.4.3.1 Major-key recapitulation in minor-key movements; 2.4.3.2 Third relations versus fifth relations; 2.4.4 New slow-movement types; 2.4.5 The upgrading of the dance movement; 2.4.6 Final movements; 2.4.7 Camouflaging the formal structure; 2.5 The cycle
2.5.1 Sequence and combination of movements2.5.2 Tonal structures; 2.5.3 Transitions; 2.5.4 Motivic unity and quotations; 2.6 The sonata after Beethoven; 2.6.1 Franz Schubert; 2.6.2 Sonata composition after c. 1830; 2.6.2.1 Motivic unity - motivic derivation - developing variation; 2.6.2.2 Quotation; 2.6.2.3 Tonal structure; 2.6.2.4 Integration on multiple levels: Schumann's Piano Sonata, Op. 11; 2.6.2.5 The amalgamation of the sonata cycle with sonata form: Franz Liszt's B minor Sonata; 2.7 Sonata composition in the twentieth century; 2.7.1 The sonata in the nineteenth-century tradition
2.7.2 The neo-classicist and historicist sonata2.7.3 The sonata as generic 'piece for instrument(s)'; 2.7.4 The eclectic sonata; Chapter 3 Functions and aesthetics; 3.1 Locations and occasions; 3.2 Target groups: professionals, connoisseurs and amateurs; 3.3 Learned style; 3.4 Virtuosity; 3.5 Sonata form as an aesthetic paradigm; 3.6 Absolute music? On meaning and programmaticism; Chapter 4 Scoring and texture; 4.1 Developments in the seventeenth and eighteenth centuries; 4.1.1 Number of instruments; 4.1.1.1 The ensemble sonata; 4.1.1.2 The sonata for small ensemble
4.1.2 Nature and formation of the ensemble
Record Nr. UNINA-9910792053903321
Schmidt Thomas (Musicologist)  
Cambridge : , : Cambridge University Press, , 2011
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
The sonata / / Thomas Schmidt-Beste [[electronic resource]]
The sonata / / Thomas Schmidt-Beste [[electronic resource]]
Autore Schmidt Thomas (Musicologist)
Pubbl/distr/stampa Cambridge : , : Cambridge University Press, , 2011
Descrizione fisica 1 online resource (xiii, 263 pages) : digital, PDF file(s)
Disciplina 784.18/3
Collana Cambridge introductions to music
Soggetto topico Sonata
Sonata form
ISBN 1-107-30103-3
1-107-21684-2
1-107-25354-3
1-107-30611-6
0-511-97429-9
1-107-30831-3
1-107-31386-4
1-299-27629-6
1-107-31166-7
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Nota di contenuto Cover; Cambridge Introductions to Music: The Sonata; Title; Copyright; Contents; Musical examples; Tables; Preface; Chapter 1 Definitions; 1.1 Sonata and canzona; 1.2 Sonata and sinfonia; 1.3 Sonata and concerto; 1.4 Sonata and suite/partita; 1.5 The sonata and free instrumental genres: toccata - ricercar - capriccio - fantasia; 1.6 Summary: instrumentation, form, texture or function?; Chapter 2 Form; 2.1 The 'free' sonata in the seventeenth century; 2.2 Corelli and his legacy; 2.2.1 The sonata da chiesa; 2.2.2 The sonata da camera; 2.2.3 Corelli's followers in the eighteenth century
2.2.4 Regional traditions2.3 Sonata cycles and 'sonata form' after 1750; 2.3.1 Fast movements: 'sonata form' and related categories; 2.3.1.1 From dance form to sonata form; 2.3.1.2 Terminology; 2.3.1.3 The exposition; 2.3.1.4 The development; 2.3.1.5 The recapitulation; 2.3.1.6 The re-entry; 2.3.1.7 The transition; 2.3.1.8 The recapitulation as a result of events in the exposition and development; 2.3.1.9 Extra options: slow introduction and coda; 2.3.2 Sonata form - bipartite or tripartite?; 2.3.3 Slow movements; 2.3.4 Minuet and scherzo; 2.3.5 Finales
2.4 Beethoven's sonatas - consummating or transcending Classical form?2.4.1 Construction of themes and their elaboration; 2.4.1.1 Types of theme; 2.4.1.2 Thematic contrast and thematic derivation; 2.4.1.3 Elaboration and transformation of themes and motives; 2.4.2 Slow introduction and coda; 2.4.3 Manipulations of the tonal process; 2.4.3.1 Major-key recapitulation in minor-key movements; 2.4.3.2 Third relations versus fifth relations; 2.4.4 New slow-movement types; 2.4.5 The upgrading of the dance movement; 2.4.6 Final movements; 2.4.7 Camouflaging the formal structure; 2.5 The cycle
2.5.1 Sequence and combination of movements2.5.2 Tonal structures; 2.5.3 Transitions; 2.5.4 Motivic unity and quotations; 2.6 The sonata after Beethoven; 2.6.1 Franz Schubert; 2.6.2 Sonata composition after c. 1830; 2.6.2.1 Motivic unity - motivic derivation - developing variation; 2.6.2.2 Quotation; 2.6.2.3 Tonal structure; 2.6.2.4 Integration on multiple levels: Schumann's Piano Sonata, Op. 11; 2.6.2.5 The amalgamation of the sonata cycle with sonata form: Franz Liszt's B minor Sonata; 2.7 Sonata composition in the twentieth century; 2.7.1 The sonata in the nineteenth-century tradition
2.7.2 The neo-classicist and historicist sonata2.7.3 The sonata as generic 'piece for instrument(s)'; 2.7.4 The eclectic sonata; Chapter 3 Functions and aesthetics; 3.1 Locations and occasions; 3.2 Target groups: professionals, connoisseurs and amateurs; 3.3 Learned style; 3.4 Virtuosity; 3.5 Sonata form as an aesthetic paradigm; 3.6 Absolute music? On meaning and programmaticism; Chapter 4 Scoring and texture; 4.1 Developments in the seventeenth and eighteenth centuries; 4.1.1 Number of instruments; 4.1.1.1 The ensemble sonata; 4.1.1.2 The sonata for small ensemble
4.1.2 Nature and formation of the ensemble
Record Nr. UNINA-9910816657203321
Schmidt Thomas (Musicologist)  
Cambridge : , : Cambridge University Press, , 2011
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui
The sonata / / Thomas Schmidt-Beste [[electronic resource]]
The sonata / / Thomas Schmidt-Beste [[electronic resource]]
Autore Schmidt-Beste Thomas
Pubbl/distr/stampa Cambridge : , : Cambridge University Press, , 2011
Descrizione fisica 1 online resource (xiii, 263 pages) : digital, PDF file(s)
Disciplina 784.18/3
Collana Cambridge introductions to music
Soggetto topico Sonata
Sonata form
ISBN 1-107-30103-3
1-107-21684-2
1-107-25354-3
1-107-30611-6
0-511-97429-9
1-107-30831-3
1-107-31386-4
1-299-27629-6
1-107-31166-7
Formato Materiale a stampa
Livello bibliografico Monografia
Lingua di pubblicazione eng
Nota di contenuto Cover; Cambridge Introductions to Music: The Sonata; Title; Copyright; Contents; Musical examples; Tables; Preface; Chapter 1 Definitions; 1.1 Sonata and canzona; 1.2 Sonata and sinfonia; 1.3 Sonata and concerto; 1.4 Sonata and suite/partita; 1.5 The sonata and free instrumental genres: toccata - ricercar - capriccio - fantasia; 1.6 Summary: instrumentation, form, texture or function?; Chapter 2 Form; 2.1 The 'free' sonata in the seventeenth century; 2.2 Corelli and his legacy; 2.2.1 The sonata da chiesa; 2.2.2 The sonata da camera; 2.2.3 Corelli's followers in the eighteenth century
2.2.4 Regional traditions2.3 Sonata cycles and 'sonata form' after 1750; 2.3.1 Fast movements: 'sonata form' and related categories; 2.3.1.1 From dance form to sonata form; 2.3.1.2 Terminology; 2.3.1.3 The exposition; 2.3.1.4 The development; 2.3.1.5 The recapitulation; 2.3.1.6 The re-entry; 2.3.1.7 The transition; 2.3.1.8 The recapitulation as a result of events in the exposition and development; 2.3.1.9 Extra options: slow introduction and coda; 2.3.2 Sonata form - bipartite or tripartite?; 2.3.3 Slow movements; 2.3.4 Minuet and scherzo; 2.3.5 Finales
2.4 Beethoven's sonatas - consummating or transcending Classical form?2.4.1 Construction of themes and their elaboration; 2.4.1.1 Types of theme; 2.4.1.2 Thematic contrast and thematic derivation; 2.4.1.3 Elaboration and transformation of themes and motives; 2.4.2 Slow introduction and coda; 2.4.3 Manipulations of the tonal process; 2.4.3.1 Major-key recapitulation in minor-key movements; 2.4.3.2 Third relations versus fifth relations; 2.4.4 New slow-movement types; 2.4.5 The upgrading of the dance movement; 2.4.6 Final movements; 2.4.7 Camouflaging the formal structure; 2.5 The cycle
2.5.1 Sequence and combination of movements2.5.2 Tonal structures; 2.5.3 Transitions; 2.5.4 Motivic unity and quotations; 2.6 The sonata after Beethoven; 2.6.1 Franz Schubert; 2.6.2 Sonata composition after c. 1830; 2.6.2.1 Motivic unity - motivic derivation - developing variation; 2.6.2.2 Quotation; 2.6.2.3 Tonal structure; 2.6.2.4 Integration on multiple levels: Schumann's Piano Sonata, Op. 11; 2.6.2.5 The amalgamation of the sonata cycle with sonata form: Franz Liszt's B minor Sonata; 2.7 Sonata composition in the twentieth century; 2.7.1 The sonata in the nineteenth-century tradition
2.7.2 The neo-classicist and historicist sonata2.7.3 The sonata as generic 'piece for instrument(s)'; 2.7.4 The eclectic sonata; Chapter 3 Functions and aesthetics; 3.1 Locations and occasions; 3.2 Target groups: professionals, connoisseurs and amateurs; 3.3 Learned style; 3.4 Virtuosity; 3.5 Sonata form as an aesthetic paradigm; 3.6 Absolute music? On meaning and programmaticism; Chapter 4 Scoring and texture; 4.1 Developments in the seventeenth and eighteenth centuries; 4.1.1 Number of instruments; 4.1.1.1 The ensemble sonata; 4.1.1.2 The sonata for small ensemble
4.1.2 Nature and formation of the ensemble
Record Nr. UNINA-9910465842003321
Schmidt-Beste Thomas  
Cambridge : , : Cambridge University Press, , 2011
Materiale a stampa
Lo trovi qui: Univ. Federico II
Opac: Controlla la disponibilità qui