Two-Dimensional Sonata Form

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 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.

• 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