The Sonata Forms

( 1 )

Overview

"Nobody writes better about music .... again and again, unerring insight into just the features that make the music special and fine."—The New York Review of Books
Charles Rosen says of sonata form: "[It] is not a definite form like a minuet, a da capo aria, or a French overture; it is, like the fugue, a way of writing, a feeling for proportion, direction, and texture rather than a pattern."
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Overview

"Nobody writes better about music .... again and again, unerring insight into just the features that make the music special and fine."—The New York Review of Books
Charles Rosen says of sonata form: "[It] is not a definite form like a minuet, a da capo aria, or a French overture; it is, like the fugue, a way of writing, a feeling for proportion, direction, and texture rather than a pattern."
Read More Show Less

Product Details

  • ISBN-13: 9780393302196
  • Publisher: Norton, W. W. & Company, Inc.
  • Publication date: 8/28/1988
  • Edition description: Revised Edition
  • Edition number: 2
  • Pages: 432
  • Sales rank: 591,895
  • Product dimensions: 6.20 (w) x 9.30 (h) x 1.30 (d)

Meet the Author

Charles Rosen, professor of music and social thought at the University of Chicago, has also taught at the State University of New York-Stony Brook and delivered the Charles Eliot Norton Lectures at Harvard University. His recitals and other performances have won the highest critical acclaim, as have his books, The Classical Style and The Romantic Generation. When he is not concertizing, Rosen lives in New York.
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Sort by: Showing 1 Customer Reviews
  • Posted March 27, 2009

    I Also Recommend:

    A must for students of classical music theory

    This book is essential for anyone wanting to take their understanding of "sonata form" beyond the basic classroom level. As equal parts performer, author, and theorist, Rosen does an eccelent job of explaining all sides of this suprisingly murky issue. He dismisses the generally accepted theory of sonata form as rather static, and shows that it in fact has endless variations. In addition, he follows its evolution from baroque binary form through the classical and romantic eras to a point at which the so-called form is recongnizable in name only. The book is extremely well written, and is appropriate and usefull for anyone with a serious interest in classical music.

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