Steven Vande Moortele is hoofddocent muziektheorie en vice-decaan onderzoeksbeleid aan de muziekfaculteit van de University of Toronto, waar hij ook directeur is van het Centre for the Study of Nineteenth-Century Music.Steven Vande Moortele is Professor of Music Theory at the University of Toronto, where he is the Director of the Centre for the Study of Nineteenth-Century Music.

• 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

Steven Vande Moortele is hoofddocent muziektheorie en vice-decaan onderzoeksbeleid aan de muziekfaculteit van de University of Toronto, waar hij ook directeur is van het Centre for the Study of Nineteenth-Century Music.Steven Vande Moortele is Professor of Music Theory at the University of Toronto, where he is the Director of the Centre for the Study of Nineteenth-Century Music.

• 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

Steven Vande Moortele is hoofddocent muziektheorie en vice-decaan onderzoeksbeleid aan de muziekfaculteit van de University of Toronto, waar hij ook directeur is van het Centre for the Study of Nineteenth-Century Music.Steven Vande Moortele is Professor of Music Theory at the University of Toronto, where he is the Director of the Centre for the Study of Nineteenth-Century Music.

• 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