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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.
Sonata form is one of the most influential ideas in the history of Western classical music.Since the establishment of the practice by composers like C.P.E. Bach, Haydn, Mozart, Beethoven, and Schubert and the codification of this practice into teaching and theory, the practice of writing works in sonata form has changed considerably.
The sonata form (also sonata-allegro form or first movement form) is a musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical period ).
Beginning in 1990, he and theorist Warren Darcy developed a new approach to sonata analysis known as Sonata Theory, culminating in the book Elements of Sonata Theory which makes a large-scale argument about the relation of genre to musical structure and choices, and which was the recipient of the Society for Music Theory's 2008 Wallace Berry Award.
In music, the three-key exposition is a particular kind of exposition used in sonata form. Normally, a sonata form exposition has two main key areas. The first asserts the primary key of the piece, that is, the tonic. The second section moves to a different key, establishes that key firmly, arriving ultimately at a cadence in that key.
Alma Thomas's philosophy of her own art is that her works are full of energy, and those energies cannot be destroyed or created. [39] New York art curator and editor Thomas B. Hess bought Thomas's 1972 painting Red Roses Sonata, and in 1976 his family's foundation gave the piece to the Metropolitan Museum of Art.
File: Marcel Duchamp, 1911, La sonate (Sonata), oil on canvas, 145.1 x 113.3 cm, Philadelphia Museum of Art.jpg
Some art theorists have proposed that the attempt to define art must be abandoned and have instead urged an anti-essentialist theory of art. [9] In 'The Role of Theory in Aesthetics' (1956), Morris Weitz famously argues that individually necessary and jointly sufficient conditions will never be forthcoming for the concept 'art' because it is an ...