Nm 33 / 2015 Hugu
Huguet, Joan:
Formal functions and voice-leading structures in Beethoven's early sonata-rondo finales / by Joan Campbell Huguet. – Ann Arbor : UMI, 2015. – 201 S. : Notenbeisp.
Papierkopie erschienen im Verlag University Microfilm: Ann Arbor, Mich.
Rochester, NY, Rochester Univ., Diss., 2015
UMI order number: 3703234
Inv.-Nr. 19.312
Inhalt: Introduction: 0.1. What is sonata-rondo form?. – 0.2. Defining the repertoire. – 0.3. Precursors to Beethoven's sonata-rondo practices. – 0.4. Historical approaches to sonata-rondo form. – 05. Outline of the present study. – 1. Recent "Formenlehre" and sonata-rondo form. – 1.1. Caplin's rondo-form classifications. – 1.2. Hepokoski and Darcy's rondo-form classifications. – 1.3. Defining sonata-rondo form. – 1.4. Sonata-rondo refrain characteristics. – 1.5. Atypical refrain structures. – 1.6. Changes to thematic returns in sonata-rondo form. – 1.7. Changes to the A2 and A3 refrain. – 1.8. Conclusion. – 2. The subordinate theme in sonata-rondo form. – 2.1. Caplin's description of subordinate themes. – 2.2. Hepokoski and Darcy's description of secondary themes. – 2.3. Defining the sonata rondo's first episode. – 2.4. Tonic-dominant polarity and the dramatic role of subordinate themes. – 2.5. Loosening techniques in sonata-rondo subordinate themes. – 2.6. Identifying beginnings in sonata-rondo expositions. – 2.7. Harmonic loosening techniques. – 2.8. Endings and closure in sonata-rondo expositions. – 2.9. Changes to the subordinate theme in the recapitulation. – 2.10. Three summary examples. – 2.11. Conclusion. – 3. Post-recapitulatory space. – 3.1. Characteristics of Beethoven's coda. – 3.2. Defining the coda space. – 3.3. Coda formal and harmonic function. – 3.4. Conflicting formal functions in the sonata-rondo coda. – 3.5. A new typology: Post-recapitulatory space. – 3.6. Loosening techniques in post-recapitulatory space. – 3.7. Post-recapitulatory space prototypes. – 3.8. Case study: Piano sonata in A Major, op. 2/2/iv. – 4. Schenkerian interruption and sonata-rondo form. – 4.1. Schenker on rondo form. – 4.2. Interpreting Schenker's rondo form analyses. – 4.3. The sonata-rondo problem in secondary sources. – 4.4. Alternatives to interruption in sonata rondos. – 4.5. Interruption and the increased role of V in sonata-rondos. – 4.6. Sonata-rondo exposition prototypes. – 4.7. Case study 1: String trio in Eb Major, op. 3/vi. – 4.8. Case study 2: Piano sonata in A Major, op. 2/2/iv. – 4.9. Multiple interruptions in sonata-rondo form. – 4.10. Conclusion. – 5. Case studies. – 5.1. Analyzing minor-mode sonata rondos. – 5.2. Piano sonata in E Major, op. 14/1/iii. – 5.3. Piano sonata in D Major, Op. 10/3/iv. – Conclusion. – Bibliography.
- Schlagwörter:
- Beethoven, Ludwig van / Sonatenform / Finale / Rondo / Analyse
- Beethoven, Ludwig van / op. 3 <6. Satz> / Analyse / Form / Harmonie
- Beethoven, Ludwig van / op. 2,2 <4. Satz> / Analyse / Form / Harmonie
- Beethoven, Ludwig van / op. 14,1 <3. Satz> / Analyse / Form / Harmonie
- Beethoven, Ludwig van / op. 10,3 <4. Satz> / Analyse / Form / Harmonie
Permalink