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This dissertation explores a specific type of musical form from the mid-eighteenth century: sonata forms without double-return recapitulations. James Hepokoski and Warren Darcy (2006) refer to these kinds of forms as Type 2 sonatas. This dissertation applies a dual method of analysis to select Type 2 sonatas by Mozart, Haydn, and J. C. Bach: one method that focuses on the outer form (Sonata Theory) and another that focuses on the inner form (Schenkerian analysis). This plural approach to musical form analysis provides a way to disclose perceived tensions within an inner/outer-form dynamic. This dissertation contains five chapters, which are organized into two larger parts: Theoretical Considerations (Part I) and Analysis (Part II). Part I contains two chapters. In the first chapter, I present a general review of Sonata Theory (outer form) and Schenkerian theory (inner form) as parameters for musical form analysis. I also introduce the limitations and conceptual issues related to Schenker’s approach to sonata form, such as issues related to the interruption: the early-dominant preference, the Reprise Constraint (Marvin 2011), and the parallel-linear-close problem. The second chapter discusses the specific concepts related to the Type 2 sonata (development and crux). Further, it considers how the interruption problems affect the inner-form approach to the Type 2 sonata, which is a genre that Schenker himself did not analyze. Instead of an interruption, I propose the late-dominant-preference paradigm (an undivided fundamental structure) as a model for the Type 2 sonata’s inner form. According to this model, the structural dominant is delayed until the tonic key is regained following the crux point and during the tonal resolution. Part II of this dissertation contains three analytical chapters that focus on sixteen Type 2 symphonic movements from the mid-eighteenth century (ca. 1760s). Chapter 3 considers the early Type 2 symphonic movements written by Mozart from an inner-form perspective. Following the late-dominant-preference model, the analyses of these movements follow the Reprise Constraint and avoid the parallel-linear-close problem. Chapter 4 considers a different issue concerning the development section in slow symphonic Type 2 movements by Haydn: the early double return (i.e., when the P-theme in tonic occurs near the beginning of the development section). In this case, the inner form complements the outer form, which creates a tension between sonata types. Other Type 2 movements by Haydn are considered. Chapter 5 presents analyses of the Type 2 slow movements in J. C. Bach’s Symphonies (Op. 3) and proposes the concepts of harmonic crux and linking dominant as integral parts of the inner-form analysis. A correlation between inner/outer form is suggested based on the reemergence of the Kopfton in Rotation 2 of the form and the cadence at the medial caesura in Rotation 1. The linking dominant serves as a liminal threshold between the middleground and background layers of the fundamental structure. |
