Two-Dimensional Sonata Form

Form and Cycle in Single-Movement Instrumental Works by Liszt, Strauss, Schoenberg, and Zemlinsky

Häftad, Engelska, 2024

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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.

Produktinformation

Utgivningsdatum2024-06-13
Mått155 x 233 x 14 mm
Vikt454 g
FormatHäftad
SpråkEngelska
SerieStudies in Musical Form
Antal sidor200
FörlagLeuven University Press
ISBN9789462704381

Tillhör följande kategorier

Musikböcker inom Kultur
Filosofiska discipliner inom Filosofi och religion
Musikhistoria inom Kultur

AcknowledgementsIntroductionChapter 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 NotesChapter 2 L iszt’s B-minor SonataThe 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–codaNotesChapter 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) NotesChapter 4 S trauss: Don Juan and Ein Heldenleben Strauss and Liszt Don Juan Op. 20 (1888–89) Ein Heldenleben Op. 40 (1897–98) NotesChapter 5 Schoenberg’s Pelleas und Melisande Before Pelleas Pelleas und Melisande Op. 5 (1902–03) NotesChapter 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 NotesChapter 7 S choenberg’s First Chamber Symphony Overview Identification Interpolation Recapitulation, coda, and finale NotesChapter 8 Z emlinsky’s Second String Quartet First approach Identification Interpolation NotesConclusion: The significance of two-dimensional sonata formAppendix: M easure-Number TablesBibliographyIndex of Names and Works