Sonata form is fundamentally a dramatic structure that creates, manipulates, and ultimately satisfies expectation. It engages its audience by inviting prediction, association, and interpretation. That sonata form was the chief vehicle of dramatic instrumental music for nearly 200 years is due to the power, the universality, and the tonal and stylistic adaptability of its conception. This book presents nine studies whose central focus is sonata form. Their diversity attests both to the manifold analytical approaches to which the form responds, and to the vast range of musical possibility within the form's exemplars. At the same time, common compositional issues, analytical methods, and overarching perspectives on the essential nature of the form weave their way through the volume.
|Publisher:||Ashgate Publishing Ltd|
|Sold by:||Barnes & Noble|
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Table of Contents
Contents: Preface; The divided tonic in the 1st movement of Beethoven's Op. 132, Frank Samarotto; Types, tokens, and Figaro: musical structure and dramatic narrative in the Act I trio from Mozart's Marriage of Figaro, Matthew Shaftel; Mahler's 3rd Symphony and the dismantling of sonata form, William Marvin; Motivic design and coherence in the 1st movement of Schubert's 'Arpeggione' sonata, D. 821, Evan Jones; Reading Mozart's piano sonata in D major (K. 311) 1st movement, Neil Minturn; Design and structure in Schubert's sonata forms: an evolution toward integration, Gordon Sly; On Chopins 4th Ballade, Edward Laufer; Committing to opening theme possibilities: how Beethoven's sketchbook struggles are reflected in 2 symphonic movements, Alan Gosman; A-Major events, Brian Alegant; Index.