Elements of sonata theory : norms, types, and deformations in the late eighteenth-century sonata / James Hepokoski, Warren Darcy.

Format:

Book

Author/Creator:

Hepokoski, James A. (James Arnold), 1946-

Contributor:

Darcy, Warren.

Language:

English

Subjects (All):

Sonata form.

Instrumental music--18th century--Analysis, appreciation.

Instrumental music.

Physical Description:

1 online resource (xxix, 661 p.) : ill., music.

Edition:

1st ed.

Other Title:

Norms, types, and deformations in the late-eighteenth-century sonata

Place of Publication:

Oxford ; New York : Oxford University Press, 2006.

Language Note:

English

Summary:

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.

Contents:

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

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.

Notes:

Bibliographic Level Mode of Issuance: Monograph

Includes bibliographical references (p. 623-631) and indexes.

Description based on metadata supplied by the publisher and other sources.

ISBN:

1-282-27070-2

0-19-514640-9

0-19-803345-1

9786612270703

1-4294-2049-9

OCLC:

437114824

Publisher Number:

9780195146400