How sonata forms: a bottom-up approach to musical form
"Traditional approaches to musical form have always adopted a top-down perspective whereby a work's form organizes and unifies the individual parts of the work through an overarching logic. How Sonata Forms turns this view on its head, proposing instead that it was the parts that condition...
Gespeichert in:
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Oxford University Press
[2022]
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| Schriftenreihe: | Oxford studies in music theory
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "Traditional approaches to musical form have always adopted a top-down perspective whereby a work's form organizes and unifies the individual parts of the work through an overarching logic. How Sonata Forms turns this view on its head, proposing instead that it was the parts that conditioned and enabled the whole. Relying on a corpus of over a thousand works, author Yoel Greenberg illustrates how the elements of sonata form arose independently of one another, with an overarching idea of form only emerging at the tail end of its formative period during the eighteenth century. Appreciation of the bottom-up nature of sonata form's evolution reveals it not as a stable package of features that all serve a common aesthetic or formal goal, but rather as an unstable collection of disparate and sometimes even contradictory common practices. The resolution of these contradictions presents a challenge to composers, rendering form as a creative catalyst in itself, rather than as a compositional convenience. More generally, the deeply diachronic perspective of How Sonata Forms offers an alternative to the traditional synchronic outlook that pervades music theory in general and the study of form in particular. Rather than focus on definitions and taxonomies, How Sonata Forms proposes a focus on the motion of the system of form as a whole, suggesting that it is often more productive to appreciate the dynamics of a system than it is to rigorously define its parts"--Dust jacket flap |
| Beschreibung: | x, 249 Seiten Illustrationen, Notenbeispiele (schwarz-weiß) |
| ISBN: | 9780197526286 |
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Datensatz im Suchindex
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| adam_text | CONTENTS About the Companion Website Introduction: Musical Form and Movement of the Multitude xi 1 1. The Fuzziness of Form Synchronic Fuzziness The Replacement Strategy Ihe Refinement Strategy Ihe Relaxation Strategy Diachronic Fuzziness In Lieu of a Definition 2, Wholes in the Theory Between Synchrony and Diachrony Synchrony and Diachrony in Musical Form The Synchronic Nature of Formenlehre On the Incompatibility of the Three Strategies with Diachrony Rethinking the Whole Holistic Diachrony 12 13 14 16 17 20 23 27 27 28 29 31 36 42 3. From Selfish Sonatas to Egoistic Elements On Reductionism An Abstract Model Independence Summary 48 50 53 57 60 4. A Periodic Table of Elements The Medial Repeat Modified Medial Repeats The Double Return The End Rhyme Interim Summary Independence of the Elements Defining Independence Summary 63 67 72 73 79 82 83 85 90
x ~ Contents 5. On Positive Interaction and the Emergence of the Recapitulation The Binary Rotation The Recapitulatory Rotation Trans-Action 92 99 106 112 6. Rival Repeats: On Negative Interaction and Form in Flux Wilhelm Friedemann Bach and the “Condensed Recapitulation” Unobtrusive Double Returns Carl Philipp Emanuel Bach and the Triple Rotation The “Synthesizing Recapitulation” The “False Recapitulation” Summary 116 120 124 135 141 144 146 7. Converging Forms Sonata Forms? On Convergence Ritornello Form versus the Classical Concerto From Texture to Thematicism Midway Models, from Quantz and Riepel to Koch and Galeazzi Conditions for Convergence Expansion of Concerto Form Shifting of Agency Telltale Differences: The Tutti Medial Repeat Summary 148 148 149 153 156 157 159 163 167 171 179 8. Beyond Sonata Form A Bird’s-Eye View Fuzzy Transitions 181 184 185 Appendix 1: The Sample Methods for Constructing a Sample The Method for Constructing the Sample in this Research Annotating the Corpus 191 191 193 195 Appendix 2: Statistical Significance and Confidence Bounds 199 Bibliography 225 Index of Musical Works 235 General Index 239
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| adam_txt |
CONTENTS About the Companion Website Introduction: Musical Form and Movement of the Multitude xi 1 1. The Fuzziness of Form Synchronic Fuzziness The Replacement Strategy Ihe Refinement Strategy Ihe Relaxation Strategy Diachronic Fuzziness In Lieu of a Definition 2, Wholes in the Theory Between Synchrony and Diachrony Synchrony and Diachrony in Musical Form The Synchronic Nature of Formenlehre On the Incompatibility of the Three Strategies with Diachrony Rethinking the Whole Holistic Diachrony 12 13 14 16 17 20 23 27 27 28 29 31 36 42 3. From Selfish Sonatas to Egoistic Elements On Reductionism An Abstract Model Independence Summary 48 50 53 57 60 4. A Periodic Table of Elements The Medial Repeat Modified Medial Repeats The Double Return The End Rhyme Interim Summary Independence of the Elements Defining Independence Summary 63 67 72 73 79 82 83 85 90
x ~ Contents 5. On Positive Interaction and the Emergence of the Recapitulation The Binary Rotation The Recapitulatory Rotation Trans-Action 92 99 106 112 6. Rival Repeats: On Negative Interaction and Form in Flux Wilhelm Friedemann Bach and the “Condensed Recapitulation” Unobtrusive Double Returns Carl Philipp Emanuel Bach and the Triple Rotation The “Synthesizing Recapitulation” The “False Recapitulation” Summary 116 120 124 135 141 144 146 7. Converging Forms Sonata Forms? On Convergence Ritornello Form versus the Classical Concerto From Texture to Thematicism Midway Models, from Quantz and Riepel to Koch and Galeazzi Conditions for Convergence Expansion of Concerto Form Shifting of Agency Telltale Differences: The Tutti Medial Repeat Summary 148 148 149 153 156 157 159 163 167 171 179 8. Beyond Sonata Form A Bird’s-Eye View Fuzzy Transitions 181 184 185 Appendix 1: The Sample Methods for Constructing a Sample The Method for Constructing the Sample in this Research Annotating the Corpus 191 191 193 195 Appendix 2: Statistical Significance and Confidence Bounds 199 Bibliography 225 Index of Musical Works 235 General Index 239 |
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| spelling | Greenberg, Yoel ca. 20./21. Jh. Verfasser (DE-588)1026112591 aut How sonata forms a bottom-up approach to musical form Yoel Greenberg New York, NY Oxford University Press [2022] © 2022 x, 249 Seiten Illustrationen, Notenbeispiele (schwarz-weiß) txt rdacontent n rdamedia nc rdacarrier Oxford studies in music theory "Traditional approaches to musical form have always adopted a top-down perspective whereby a work's form organizes and unifies the individual parts of the work through an overarching logic. How Sonata Forms turns this view on its head, proposing instead that it was the parts that conditioned and enabled the whole. Relying on a corpus of over a thousand works, author Yoel Greenberg illustrates how the elements of sonata form arose independently of one another, with an overarching idea of form only emerging at the tail end of its formative period during the eighteenth century. Appreciation of the bottom-up nature of sonata form's evolution reveals it not as a stable package of features that all serve a common aesthetic or formal goal, but rather as an unstable collection of disparate and sometimes even contradictory common practices. The resolution of these contradictions presents a challenge to composers, rendering form as a creative catalyst in itself, rather than as a compositional convenience. More generally, the deeply diachronic perspective of How Sonata Forms offers an alternative to the traditional synchronic outlook that pervades music theory in general and the study of form in particular. Rather than focus on definitions and taxonomies, How Sonata Forms proposes a focus on the motion of the system of form as a whole, suggesting that it is often more productive to appreciate the dynamics of a system than it is to rigorously define its parts"--Dust jacket flap Sonatensatzform (DE-588)4181786-2 gnd rswk-swf Sonata form Sonata (DE-588)4113937-9 Hochschulschrift gnd-content Sonatensatzform (DE-588)4181786-2 s DE-604 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033782482&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | How sonata forms a bottom-up approach to musical form |
| title_auth | How sonata forms a bottom-up approach to musical form |
| title_exact_search | How sonata forms a bottom-up approach to musical form |
| title_exact_search_txtP | How sonata forms a bottom-up approach to musical form |
| title_full | How sonata forms a bottom-up approach to musical form Yoel Greenberg |
| title_fullStr | How sonata forms a bottom-up approach to musical form Yoel Greenberg |
| title_full_unstemmed | How sonata forms a bottom-up approach to musical form Yoel Greenberg |
| title_short | How sonata forms |
| title_sort | how sonata forms a bottom up approach to musical form |
| title_sub | a bottom-up approach to musical form |
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| topic_facet | Sonatensatzform Hochschulschrift |
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