Korte beschrijving/Annotatie

The first book dedicated to the combination of the movements of a multimovement sonata cycle with an overarching single-movement form that is itself organized as a sonata form.

Tekst achterflap

Two-Dimensional Sonata Form is the first book dedicated to the combination of the movements of a multimovement sonata cycle with an overarching single-movement form that is itself organized as a sonata form. Drawing on a variety of historical and recent approaches to musical form (e.g., Marxian and Schoenbergian Formenlehre, Caplin’s theory of formal functions, and Hepokoski and Darcy’s Sonata Theory), it begins by developing an original theoretical framework for the analysis of this type of form that is so characteristic of the later nineteenth and early twentieth century. It then offers an in-depth examination of nine exemplary works by four Central European composers: the Piano Sonata in B minor and the symphonic poems Tasso and Die Ideale by Franz Liszt, Richard Strauss’s tone poems Don Juan and Ein Heldenleben, the symphonic poem Pelleas und Melisande, the First String Quartet and the First Chamber Symphony by Arnold Schoenberg, and Alexander Zemlinsky’s Second String Quartet.

Slogan/Promotie

Two-Dimensional Sonata Form is the first book dedicated to the combination of the movements of a multimovement sonata cycle with an overarching single-movement form that is itself organized as a sonata form. Drawing on a variety of historical and recent approaches to musical form (e.g., Marxian and Schoenbergian Formenlehre, Caplin’s theory of formal functions, and Hepokoski and Darcy’s Sonata Theory), it begins by developing an original theoretical framework for the analysis of this type of form that is so characteristic of the later nineteenth and early twentieth century. It then offers an in-depth examination of nine exemplary works by four Central European composers: the Piano Sonata in B minor and the symphonic poems Tasso and Die Ideale by Franz Liszt, Richard Strauss’s tone poems Don Juan and Ein Heldenleben, the symphonic poem Pelleas und Melisande, the First String Quartet and the First Chamber Symphony by Arnold Schoenberg, and Alexander Zemlinsky’s Second String Quartet.

Biografie

Steven Vande Moortele is associate professor of music theory at the Faculty of Music at the University of Toronto, where he is also the director of the Centre for the Study of Nineteenth-Century Music.

Inhoudsopgave

Acknowledgements Introduction Chapter 1 Two‑Dimensional Sonata Form: A terminological and conceptual framework Levels of form Analogies between levels Projection of hierarchies Identification, interpolation, and exocyclic units Integration, process, and tension Further terminological considerations Notes Chapter 2 L iszt’s B-minor Sonata The locus romanticus of two‑dimensional sonata form The exposition of the overarching sonata form Identification: first movement and exposition Interpolation: the slow movement Identification: scherzo–finale and recapitulation–coda Notes Chapter 3 L iszt: Tasso and Die Ideale Two‑dimensional sonata form in the second half of the nineteenth century Form in Liszt’s symphonic poems Tasso: Lamento e trionfo (1847–54) Die Ideale (1856–57) Notes Chapter 4 S trauss: Don Juan and Ein Heldenleben Strauss and Liszt Don Juan Op. 20 (1888–89) Ein Heldenleben Op. 40 (1897–98) Notes Chapter 5 Schoenberg’s Pelleas und Melisande Before Pelleas Pelleas und Melisande Op. 5 (1902–03) Notes Chapter 6 S choenberg’s First String Quartet From program to absolute music Issues of form in the overarching sonata form Identification Interpolation and integration Overall form and tonal plan Notes Chapter 7 S choenberg’s First Chamber Symphony Overview Identification Interpolation Recapitulation, coda, and finale Notes Chapter 8 Z emlinsky’s Second String Quartet First approach Identification Interpolation Notes Conclusion: The significance of two-dimensional sonata form Appendix: M easure-Number Tables Bibliography Index of Names and Works

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