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Sonata Theory understands the rhetorical layout of a sonata as progressing through a set of action spaces and moments of "structural punctuation." [8] These action spaces largely correlate with the "themes" or "groups" of the sonata, though each space is differentiated primarily by the unique generic goal that the music pursues within that particular space.
James Arnold Hepokoski was born on 20 December 1946 in Duluth, Minnesota. [1] He earned his master's degree and PhD in Music History from Harvard University, studying with David G. Hughes, John M. Ward, Oliver Strunk and Christoph Wolff, earning his doctorate in 1979 with a dissertation on Giuseppe Verdi's Falstaff. [1]
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Portrait of composer C.P.E. Bach. The older Italian sonata form differs considerably from the later sonata in the works of the Viennese Classical masters. [1] Between the two main types, the older Italian and the more "modern" Viennese sonata, various transitional types are manifest in the middle of the 18th century, in the works of the Mannheim composers, Johann Stamitz, Franz Xaver Richter ...
In the field of music theory, the term Sonata Cycle refers to the layout of a multi-movement work where the movements are recognizably in the forms of the tradition of classical music. It differs from the term cyclic form in that there is no unifying motive or theme used in all the movements.
Though much is lost, substantial treatises on ancient Greek music theory survive, including those by Aristoxenus, Nicomachus, Ptolemy and Porphyry. The influential Yue Jing Classic of Music from China is lost, [ 1 ] though a few Ancient Chinese theorists from the Han dynasty and later have surviving contributions, such as Jing Fang and Xun Xu .
In music, a sonata (/ s ə ˈ n ɑː t ə /; pl. sonate) [a] literally means a piece played as opposed to a cantata (Latin and Italian cantare, "to sing"), a piece sung. [1]: 17 The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on increasing importance.
Movements 7 & 6, reversed from their order in the Sonata in D minor (HWV 367a, Op. 1, No. 9a, c. 1725–26), [16] (using an earlier version of movement 6, the Andante in D minor, HWV 409, c. 1725–26), [17] and the Menuet in D minor (HWV 462, c. 1724–26, originally for solo keyboard), [2] [18] with the note values doubled and time signature ...