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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.
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 ...
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]
Isaak Izrailevich Brodsky (Russian: Исаа́к Изра́илевич Бро́дский, Ukrainian: Іса́к Ізраїльович Бро́дський; 6 January 1884 [O.S. 25 December 1883] – 14 August 1939) was a Russian painter and draughtsman of Jewish descent best known for his portrayals of Vladimir Lenin and other Soviet leaders ...
Early examples of sonata form resemble two-reprise continuous ternary form. [1] Sonata form, optional features in parentheses [2]. 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.
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 ...
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 ...
For example, unit length of 8 1 ⁄ 2 in the first section of Sonata III is achieved by using six bars in 2/2 time and two in 5/4 (rather than eight bars in 2/2 and one in 1/2). In many sonatas the microstructure—how the melodic lines are constructed—deviates slightly from the pre-defined proportion.