Haydn's Early Altered Recapitulations as Evidence of Early Sonata-Form Logic

Greenberg, Yoel

doi:10.11116/mta.5.2.3

Cited by 2 publications

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“…Therefore, the infiltration of developmental activity into the action space of the recapitulation is a noteworthy finding, producing what is commonly referred to as an altered recapitulation (e.g. Haimo 1988 and Greenberg 2018). This contradictio in adjecto may prompt us to question the applicability of a term suggesting (varied) repetition in a section, which in many cases differs markedly from the referential pattern provided by the exposition 4…”

Section: The Distinguished Role Of the Double Return In Sonata Typologymentioning

confidence: 99%

A Myriad of Exceptions? Challenging the Sonata‐Form Typology for the Classical Repertoire

Neuwirth¹

2021

Music Analysis

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Present‐day sonata theory scholarship increasingly draws on a typology of sonata forms that consists of five interrelated types, placing particular emphasis on the double return and thematic rotation. The present article aims at scrutinising a variety of formal phenomena in the Classical repertoire that potentially challenge, in one way or another, the established sonata‐form typology and its analytic application. This includes the early double return, strong off‐tonic cadences within the recapitulatory action space, false recapitulations as well as false‐false recapitulations, recapitulations launched with P‐based S and off‐tonic recapitulations. The article concludes with a reflection on the epistemological status of the sonata typology and discusses the notion of a modularly conceived Formenlehre.

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Section: The Distinguished Role Of the Double Return In Sonata Typologymentioning

confidence: 99%

A Myriad of Exceptions? Challenging the Sonata‐Form Typology for the Classical Repertoire

Neuwirth¹

2021

Music Analysis

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Follow the Solo: The Formal Evolution of the Concerto in the Eighteenth-Century

Maliniak¹,

Greenberg²

2022

Music Theory Spectrum

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We examine the evolution of the form of the first movement in the eighteenth-century concerto from the Baroque ritornello plan to the eighteenth-century Classical concerto by means of a statistical corpus study. Our data yields a more nuanced understanding of several key characteristics of this evolution, characteristics that have been observed by both contemporary and present-day theorists. We demonstrate how the rise in both quantity and thematic quality of the soloist’s part enabled the convergence of ritornello practices with sonata-form features. We conclude with analytical case studies of works by C. P. E. Bach and Josef Mysliveček, showing how their formal solutions fit within this evolutionary process.

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Haydn's Early Altered Recapitulations as Evidence of Early Sonata-Form Logic

Cited by 2 publications

References 0 publications

A Myriad of Exceptions? Challenging the Sonata‐Form Typology for the Classical Repertoire

A Myriad of Exceptions? Challenging the Sonata‐Form Typology for the Classical Repertoire

Follow the Solo: The Formal Evolution of the Concerto in the Eighteenth-Century

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