Mozart’s Sonata-Form Arias

Martin, Nathan John

doi:10.1017/9781782045977.003

Cited by 4 publications

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“…The three standard possibilities for cadences are perfect authentic cadences (PAC), imperfect authentic cadences (IAC), and half cadences (HC). [6] In some instances, the arrival of a PAC simultaneously marks the beginning of a new formal unit; these are labeled "elided PAC" in the dataset. We also identify instances of abandoned cadences (AC), deceptive cadences (DC), and evaded cadences (EC).…”

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confidence: 99%

“…Only a few existing corpus studies include cadential labels (e.g., de Clercq, 2015;Duane, 2019;Ito, 2014;Martin & Pedneault-Deslauriers, 2015;Raz, Chawin, & Rom, 2021;Sears, 2017;van Kranenburg & Karsdorp, 2015), as noted by Hentschel, Neuwirth, and Rohrmeier (2021) in their newly published data report. Our dataset shares similarities with that of Hentschel, Neuwirth, and Rohrmeier (2021), although we created it independently.…”

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confidence: 99%

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An Analytical Dataset of Approaches to V in Mozart

Brown

Tan

Lin

2023

EMR

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Tonal functions—tonic, pre-dominant, and dominant—are a standard feature of North American music theory. The pre-dominant (PD) encompasses the largest number of chords, varying in quality and scale degrees; unlike the tonic and dominant functions, it is primarily defined by its syntactical role, preceding the arrival of the dominant. While Western harmony textbooks consistently organize PD chords according to a regulative syntax (e.g., IV goes to ii), they differ on its rationale and are rarely explicit about the repertoire(s) on which it is based. Furthermore, while the PD is thought to be an essential element of cadential closure, the role of PDs at various formal locations is underexplored, be it in textbooks or corpus studies. To facilitate exploration of these claims for future research, we analyzed all 22 sonata-allegro movements from the Mozart piano sonatas and generated a new dataset containing every occurrence of V (including the Cad6/4), the three chords preceding each V, and their formal location.

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confidence: 99%

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An Analytical Dataset of Approaches to V in Mozart

Brown

Tan

Lin

2023

EMR

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“…In an earlier work I examined interactions between tonal structure and continuous expositional organisation in Haydn's late expositions (Suurpää 1999). Nathan John Martin (2014) also takes his examples from Haydn in his discussion of the legacy of Larsen's three-part division of the exposition and its relationship to the continuous exposition and form-functional theory. Moreover, Peter H. Smith (2014, pp.…”

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confidence: 99%

“…The second aspect that characterises the literature on continuous expositions is the exclusive concentration on fast movements, either first movements or finales. The studies mentioned above (Hepokoski and Darcy 1997and 2006, Larsen [1963 1988, Martin 2014, Rosen 1988, Smith 2014, Suurpää 1999and Webster 1991a) do not discuss one single slow movement that would fall within the continuous or three-part framework. This essay deviates from these studies in two respects: (1) it examines works by Wolfgang Amadeus Mozart, and (2) it concentrates on slow movements.…”

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confidence: 99%

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Continuous Exposition in Mozart's Slow Chamber‐Music Movements

Suurpää¹

2022

Music Analysis

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The literature on continuous exposition is characterised by two features: (1) concentration on the music of Haydn and (2) the examination of fast movements. This essay deviates from these starting points by examining Mozart's slow movements. The aim is to give close readings of a small number of works taken from a limited corpus rather than to provide an overview of Mozart's slow continuous expositions. The works concerned are the slow movements of three‐ and four‐movement chamber‐music works composed after 1775. Of the 42 slow movements in this corpus there are three with a continuous exposition: Larghetto from the Quintet for Piano and Winds, K. 452 (1784), Larghetto from the Quintet for Clarinet and Strings, K. 581 (1789), and Adagio from the String Quintet, K. 593 (1790). These expositions are analysed, and each of them is paired with another exposition from Mozart's slow chamber‐music works that features elements leading in K. 452, K. 581 and K. 593 to continuous organisation. The similarities notwithstanding, these expositions are interpreted as two‐part.

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Models for Mozart’s Transitions: A Transatlantic Exchange

Martin,

Kaiser

2023

Music Theory Spectrum

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This research note comprises two interlinked texts. The first is a short essay that, developing ideas from Ulrich Kaiser’s (2009) article on Mozart’s transitions, isolates and theorizes a particular transition pattern (the “Prinner transition”) and then illustrates with a series of analyses. The second is a response from Kaiser clarifying the difference between Gjerdingen’s Prinner and his own 4^−1^ (fa–ut) model. The immediate theoretical issues in play involve the relationship between schema theory, formal functions, and voice-leading reduction as well as differences between Anglo-American and Germanic understandings of schemata and models.

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Mozart’s Sonata-Form Arias

Cited by 4 publications

References 0 publications

An Analytical Dataset of Approaches to V in Mozart

An Analytical Dataset of Approaches to V in Mozart

Continuous Exposition in Mozart's Slow Chamber‐Music Movements

Models for Mozart’s Transitions: A Transatlantic Exchange

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