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Autor:
James Hepokoski
Publikováno v:
Journal of the American Musicological Society. 76:113-167
Between 1911 and 1913, Odeon records, in Berlin, produced and made available for sale five complete, four-movement symphonies, the first complete symphonies ever recorded. They were Beethoven’s Fifth and Sixth Symphonies (August and November–Dece
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https://doi.org/10.1525/jams.2023.76.1.113
https://doi.org/10.1525/jams.2023.76.1.113
Autor:
James Hepokoski
A Sonata Theory Handbook is a step-by-step, seminar-like introduction to Sonata Theory, a new approach to the study and interpretation of sonata form. The book updates and advances the outline of the method first presented in Hepokoski and Darcy’s
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https://doi.org/10.1093/oso/9780197536810.001.0001
https://doi.org/10.1093/oso/9780197536810.001.0001
Autor:
James Hepokoski
Publikováno v:
A Sonata Theory Handbook
This is the first of three longer, more extended chapters (10, 11, and 12) devoted to special questions with regard to the applicability of Sonata Theory to post-Beethovenian composers and into the romantic era. The problem begins in earnest with the
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https://doi.org/10.1093/oso/9780197536810.003.0010
https://doi.org/10.1093/oso/9780197536810.003.0010
Autor:
James Hepokoski
The Type 2 sonata is a “double-rotational” (or “binary”) sonata: (1) exposition (P TR’ S / C); and (2) developmental space (P and/or TR) plus tonal resolution (S / C). The Type 2 lacks the “double return” of P and the tonic at the onset
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https://doi.org/10.1093/oso/9780197536810.003.0011
https://doi.org/10.1093/oso/9780197536810.003.0011
Autor:
James Hepokoski
Publikováno v:
A Sonata Theory Handbook
This chapter lays out the most foundational, generative concepts behind Sonata Theory. These include: the role of the listener or analyst in helping to produce a “meaning” or reading for the work; genre theory and dialogic form (individual works
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https://doi.org/10.1093/oso/9780197536810.003.0001
https://doi.org/10.1093/oso/9780197536810.003.0001
Autor:
James Hepokoski
Publikováno v:
A Sonata Theory Handbook
Minor-mode sonatas constitute a special case within classical—and later—sonata practice. In part this is because of the special affective quality historically assigned to the minor mode, along with many of the characteristic moods and colors asso
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https://doi.org/10.1093/oso/9780197536810.003.0008
https://doi.org/10.1093/oso/9780197536810.003.0008
Autor:
James Hepokoski
Publikováno v:
A Sonata Theory Handbook
This chapter moves on from Mozart and Haydn to consider an early-nineteenth-century movement from Beethoven, the initial movement of his Symphony No. 2, written at the onset of what he considered to be an aesthetic “new path” of composition (and
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https://doi.org/10.1093/oso/9780197536810.003.0007
https://doi.org/10.1093/oso/9780197536810.003.0007
Autor:
James Hepokoski
Publikováno v:
A Sonata Theory Handbook
Not all classical expositions are “two-part expositions,” that is, one divided in half by a medial caesura. Another, less common option was that of the “continuous exposition,” lacking a medial caesura and hence (in Sonata Theory’s view) la
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https://doi.org/10.1093/oso/9780197536810.003.0006
https://doi.org/10.1093/oso/9780197536810.003.0006
Autor:
James Hepokoski
Publikováno v:
A Sonata Theory Handbook
Chapter 3 reinforces the analytical concepts presented in the preceding chapter by providing another close analysis of a movement by Mozart—the slow movement of his Symphony No. 34 in C, K. 338. The choice of a slow movement also introduces the con
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https://doi.org/10.1093/oso/9780197536810.003.0003
https://doi.org/10.1093/oso/9780197536810.003.0003
Autor:
James Hepokoski
Publikováno v:
A Sonata Theory Handbook
Chapter 5 returns to the technique of paradigmatic close analysis to show Sonata Theory in practice, this time examining the first movement of Haydn’s Symphony No. 100 in G, “Military.” Apart from analysis proper, the chapter discusses the diff
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https://doi.org/10.1093/oso/9780197536810.003.0005
https://doi.org/10.1093/oso/9780197536810.003.0005