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Topic: Criticism and sonata form

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Sonata allegro form

History of sonata form

Sonata rondo form

Rondo

Theme and variations

Romantic music

Joseph Haydn

Classical music era

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18th century

Sonata form

Sonata form

	Sonata form - free-definition (Site not responding. Last check: 2007-11-05)
		The term "sonata form" is also applied to the use the layout of all of the movements, for example, Schumann relabelled a piano work as a "sonata" only when he included a fourth dance movement.
		Sonata form arose during the late Baroque era, came to dominate many forms of musical composition during the Classical era, and continued to be influential through the subsequent history of classical music.
		The sonata form is a guide to composers as to the schematic for their works, for interpreters to understand the grammar and meaning of a work, and listeners to understand the significance of musical events.
	www.free-definition.com /Sonata-form.html (2088 words)

	Sonata form - Enpsychlopedia (Site not responding. Last check: 2007-11-05)
		Sonata form is both a way of organizing the composing of a work and a way of analyzing an existing work.
		The standard description of the sonata form is rooted in the common practice period of harmony, though more modern descriptions of theorists such as Heinrich Schenker and Charles Rosen argue that there is a single tonal background which defines all sonata movements.
		Sonata form arose during the late Baroque era, came to dominate many forms of musical composition during the Classical era, and was defined and made central to concert music in the Romantic era.
	www.grohol.com /wiki/Recapitulation (2411 words)

	Home Recording dot com BBS - Writing a piano sonata
		So, there's not just 'a sonata' form, it kinda depends on where you are in history.
		Among forms used for inner and final movements are the minuet or scherzo, the rondo or sonata-rondo and variations.
		Formally, a sonata follows a very strict form (Exposition [Theme] twice, development [variation on the theme or another theme with a great deal of modulation], recapitulation of exposition often in another key) but few composers have followed this exact format since Haydn.
	homerecording.com /bbs/showthread.php?t=89121 (1196 words)

	Polish Music Journal 3.1.00: Zofia Helman - "Norms and Individuation in Chopin's Sonatas"
		On the other hand, while the enigmatic character of the Sonata in G Minor led some scholars (especially Niecks and Opieñski) [5] to believe that this work was proof of the composer's lessening creative "impetus," other researchers (Jachimecki and Chomiñski) viewed this Sonata as a further expansion of the sonata form.
		This regularity pertains to the clear division of the form, the schematic nature of the period structure and the tonal relationship between the themes in the exposition and in the recapitulation (major tonic—major dominant in the exposition and the unification of the key scheme in the recapitulation with a return to the main key).
		In contrast to the Sonata in C Minor, both later piano sonatas strongly differentiate between the character of the first and second themes; their manifest conflict is articulated by the contrast of modes (major/minor), the tonal centers (minor tonic and its parallel), melodic material, texture, emotional character, and even the formative principles.
	www.usc.edu /dept/polish_music/PMJ/issue/3.1.00/helman.html (10191 words)

	Brahms' German Requiem: History and Criticism
		Generally critics recognized the craftsmanship involved in writing such a monumental and interconnected work; what they objected to was the constructed nature of the counterpoint and fugal passages, which stood at odds with their conception of `modern' music.
		As with Leipzig and Vienna, however, the critics softened with time, and by the 1880's the protests and polemicism to be heard against the Requiem came almost entirely from the Wagnerian school; among the greater concert-going public, the Requiem had been embraced, and was to remain, as a `standard' and `classic' masterpiece.
		Critics were tame in their enthusiasm, but appreciated the grandeur and earnestness of the work.
	www.nthuleen.com /papers/415brahms.html (4439 words)

	Beethoven And The Sonata
		Thus we find in his first pianoforte sonatas effects which appeared much later in the greater elaboration of his symphonies ; thus also is shown the necessary imperfection of any division of his works into distinct periods, since his pianoforte style was so greatly in advance of his orchestral.
		The Sonata Form, as settled by Haydn, was made the point of departure, serving almost invariably as the basis of the first movement, and frequently, in shortened form, for the second, generally slow, movement.
		For 'he finale, the Rondo form was most frequent; though, in o, der to give a fuller compass to the thought, a combination of the Rondo and Sonata forms was invented by Beethoven, and used even in his first sonatas.
	www.oldandsold.com /articles31n/music-history-34.shtml (1580 words)

	Johannes Brahms - Violin Sonata No.1 in G major, Op.78
		The G major Violin Sonata, known to us as the First, was actually Brahms' fifth attempt to resolve the problems inherent in blending the lyrical violin with the essentially percussive piano.
		In the G major Sonata two additional influences may also be felt to have contributed to the music's relaxed, confident manner - the profound integrity and lyrical playing of Joseph Joachim, the Hungarian virtuoso who inspired all of Brahms' mature string writing, and the scenic surroundings of Portschach in Austrian Carinthia.
		The G major Violin Sonata was written in the summer of 1879 and premiered in Vienna that November.
	www.classicalnotes.co.uk /notes/brahms3.html (479 words)

	[No title] (Site not responding. Last check: 2007-11-05)
		20 Oldani, Boris Godunov Mussorgsky, Boris Godunov 3.1 (1979) Gossett, The Overtures overture, form, Rossini Haar, Berlioz and opera, Cellini Brown, Skryabin Skryabin,symbolism Webster, Schubert's Sonata Form Schubert, Brahms,sonata, form Brahms Op.
		Champfleury, Richard Wagner and Wagner, criticism Peretti, Democratic Leitmotivs Wagner, reception Cobb, Claude Debussy to Debussy, correspondance 13.2 (1989) Darcy, Creatio ex Nihilo prelude, structure, analysis Wagner, Das Rheingold.
		Smith, Liquidation, Augmentation Brahms, sonata form, recapitulation, augmentation, liquidation, apparent tonic Schoenberg, Schenker, Schachter Brahms, String Quartet Op.
	www.humanities.mcmaster.ca /~renwick/data/19th.txt (1399 words)

	2nd International Colloquium of the FGN: "Narratology beyond Literary Criticism" - Abstracts
		In the strong form, the signified cannot be separated from the signifier.
		The first movement employs the standard plot resources commonly identified as "sonata form," but it also departs from the norm to create an analytically vexed situation in which the functions of character within the plot remain uncertain.
		Equally intriguing is another narrative about the sonata, the report of Beethoven's amanuensis Anton Schindler in his highly unreliable memoirs of the composer, which forms the source of the reference to Shakespeare's "The Tempest" in relation to op.
	www.narratology.net /html/fgn-colloquium-2003.html (9214 words)

	Merging Of The Suite Into The Sonata
		The allemande, overture, or preludio formed the first movement; the second consisted of the sarabande, the ancestor of our adagio; and the last part was generally a gigue.
		For although it is not generally realized, he wrote every one of his sonatas with definite subjects, and, at one time, was on the point of publishing mottoes to them, in order to give the public a hint of what was in his mind when he wrote them.
		A sonata by the German Rolle (1718-1785) is valuable in that it shows a very decided second theme in the first period, thus tending toward the development of the original simple dance form into the more complex sonata form.
	www.oldandsold.com /articles30/music-essays-13.shtml (2241 words)

	PIANO SONATA FOUR_G
		The movement is in sonata form, but with two significant formal innovations: a repeat is marked for just the second part of the movement (development and recapitulation); and the coda begins with a section in a closed binary form marked 'Presto' and suggesting some wild dance.
		No exalted sonata stage is prepared for well-sounding passions, but rather the breaking-up of and the antithesis of such a sonata-style stage.
		Kuerti describes this finale as having been composed in sonata form, but instead of the usual repetition of the exposition (that was also left off in the second movement) Beethoven, very unconventionally, is asking for the repcapitulation of the development, and even wrote in Italian, "la seconda parte due volte" ("the second part twice").
	raptusassociation.org /son23e.html (6275 words)

	Commentary Magazine - Music Criticism Today (Site not responding. Last check: 2007-11-05)
		...And so what made Sargeant contemptible as a critic was not his lack of the composer's knowledge of how to write music, but first of all the deficiencies of taste that Stravinsky had pointed out...
		...which is likely to produce faulty criticism even when they have knowledge, perception, cleverness, and charm, since the critic's eye that is partly on the effect he wants to make is that much less on the object before him and less likely to see it accurately...
		...I pointed out at the time that what criticism requires is not the knowledge of the composer, the doer, the insider, but instead the perception, judgment, and taste of the non-doer, the outsider, the listener-which is to say, the professional listener, the critic...
	www.commentarymagazine.com /Summaries/V46I4P73-1.htm (2786 words)

	Beckett - Criticism: General
		This early, important critical study doesn't have an argument per se; that is, it is less a rigorously argued thesis than an overview of Beckett's works with a general consideration of their comic effects in mind.
		This text demarcates the line between the critical work produced when Beckett was alive, and the critical work produced within ten years of the author's death.
		In recent criticism, Samuel Beckett's prose has been increasingly described as a labor of refusal -- a refusal not only of what traditionally has made possible narrative and the novel but also of the major conventional suppositions concerning the primacy of consciousness, subjectivity, and expression for the artistic act.
	www.themodernword.com /beckett/beckett_crit_general.html (2092 words)

	Ingmar Bergman's Autumn Sonata (Site not responding. Last check: 2007-11-05)
		The 'sonata' of the title most immediately refers to the first movement of Händel's Sonata in F (opus 1) played during the credits.
		In Beethoven's sonata, indeed in the 'Sonata' that is this film, Eva seeks to break beyond the bounds of conventional, aesthetically pleasing constraints (her confrontational speech to Charlotte is erratic, 'unpolished', even brutal and offensive to some commentators like Peter Cowie) and fixed truths.
		The ending of a sonata comes at the end of a developmental journey -- the recapitulation may be almost a straight repetition of the original themes but, because of the journey, the themes sound paradoxically different, more resolute and complete.
	www.arts.uwaterloo.ca /FINE/juhde/walkr002.htm (6812 words)

	Search Results for form- - Encyclopædia Britannica (Site not responding. Last check: 2007-11-05)
		musical form consisting of three sections, the last of which is a repeat of the first.
		a method of biblical criticism that seeks to classify units of scripture into literary patterns (such as love poems, parables, sayings, elegies, legends) and that attempts to trace each type to its...
		in music, any compositional form characterized by the repetition, in a later movement or part of the piece, of motives, themes, or whole sections from an earlier movement in order to unify...
	www.britannica.com /search?query=form-&submit=Find&source=MWTAB (518 words)

	Sleeve Notes - Godowsky: Sonata and Passacaglia
		The Dukas Sonata (1901), Balakirev’s B flat minor Sonata (1905) and Berg’s Op 1 (1906-8) were the three most notable (and musically disparate!) examples of the genre produced in the preceding decade, with Prokofiev’s and Rachmaninov’s second sonatas following in 1912 and 1913 respectively.
		The first movement, which is in strict sonata form is, despite its length and the complicated thematic development of the exposition, a gem as regards nobility of structure and cleverness of conception.
		Because of this, one might criticize Godowsky for carrying us even farther through four additional movements; but they are in such contrast with each other that the listener’s fascination in experiencing the beauties of the first movement is apt to remain intact or be further increased.
	www.hyperion-records.co.uk /notes/67300.html (3207 words)

	MTO 4.6: Grave, Review of Caplin, Classical Form
		Small forms are categorized, and theoretical models are provided for the allocation of theme-types, including main theme, transition, and subordinate group, for rondo, sonata, and other large-scale designs.
		In trying to comprehend all these subcategories, alternatives, and deviations, the reader is assisted by the clear organization of the text, the detailed explanations and commentaries on illustrative examples, and a helpful glossary that gives thumbnail definitions for many terms with their special, form-functional connotations.
		Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.
	www.societymusictheory.org /mto/issues/mto.98.4.6/mto.98.4.6.grave.html (2761 words)

	Art: appreciation, criticism, reviews, artist's philosophy
		The inspiration is a form of transient energy, this effervescent, non-substance, is translated into thoughts and feelings, which are then translated into a work of art, then, perhaps long after, some other person will view the work and gather their impressions from how they perceive it.
		There is also a measure of success that accrues to those artists who focus on forms that are acceptable, common, or functional, however, these do not explain phenomenon of preference among works of art that are new, from other cultures, or viewed as radical, avante garde and so forth.
		A moment of inspiration is nothing less than an epiphany, wherein new forms spring forth from the void, and it is this that lifts the artisan's spirit.
	www.creativeideasforyou.com /essofprf.html (2127 words)

	Sonata Preface-English (Site not responding. Last check: 2007-11-05)
		Instructor of guitar music at the Manhattan School of Music, he has assimilated since his earliest years all that can be known about the guitar in the light of a culture in which recognizes no boundary between the knowledge of the historian or musicologist and the practical experience of the active musician.
		The language employed by Delpriora in the Sonata is therefore the fruit of deep reflection on the echoes of the Romantic piano literature which barely survived the categorical rejections of the post-Webern avant-garde (of which the composer is not unaware).
		A direct consequence of the elaboration developed by Delpriora is the refined propriety of the guitar notation, which is articulated in this composition with exemplary flexibility, uniting at every moment the architecture of the musical thought and that of the sign.
	www.orphee.com /delp-eng.htm (554 words)

	Piano Sonata in C Sharp Minor (Site not responding. Last check: 2007-11-05)
		I disagree with the notion of a musical heirarchy in which a composer shouldn't attempt a certain form until his peers deem him worthy, or until he has logged x amount of hours writing in a "simpler" form.
		This Sonata is probably not the best one that this composer will ever write, but that isn't a criticism, it's a compliment.
		And one might criticize the background at times as music written for the midi playback rather than for a pianist.
	www.sibeliusmusic.com /cgi-bin/showscore.pl?scoreid=14014 (664 words)

	1997 Pulitzer Prizes-CRITICISM, Works
		Virgil Thomson, the American composer and critic, once described the orchestra as "primarily a string combo," with a marked emphasis on the violins (about 30 are in a typical group).
		It derives from Greek and means "friendly to harmony." Considering that the emphasis on music's traditional rules of harmony has diminished quite a bit in the 20th century, it is not surprising that the term now is somewhat antiquated and mostly associated with older orchestras.
		Some critics have suggested that the symphony may be finished as a musical form.
	www.pulitzer.org /year/1997/criticism/works/1211.html (2549 words)

	Undergraduate Studies 2004-05 (Site not responding. Last check: 2007-11-05)
		Among the movements studied are varieties of formal, psychological, and moral criticism and theory, feminist criticism, structuralism and poststructuralism.
		Theoretical and critical approaches to be examined and evaluated include formalism, New Criticism, structuralism, Marxism, psychoanalysis, deconstruction and poststructuralism, feminism, reader-response theory, New Historicism, postcolonialism, and cultural studies.
		The form of the project and the manner of its execution are determined in consultation with the supervisor.
	www.utoronto.ca /english/undergraduate/courses04/300des.htm (3189 words)

	PIANO SONATA FOUR_G
		Beethoven now distils the intervallic basis of the of the whole sonata, reducing the music to a fundamental, underlying level of content consisting solely of the chain of falling thirds in the bass, accompanied by soft, hesitant chords in the treble.
		The power of the sonata is evident right from the start, where the first three sounds combine to form a gigantic fortissimo chord spanning over four octaves, followed by a suggestion of the rhythm 'Vivat vivat Rudolphus'.
		In the course of this sonata, writes Kuerti, Beethoven presents us with an entire catalogue of contrapuntal techniques that can change a fugue subject, beginning with the enlargement of the time values, which means that the length of each note is doubled.
	raptusassociation.org /son29e.html (8048 words)

	Sonata In A Major - Schubert (Site not responding. Last check: 2007-11-05)
		The Seventh Symphony in C Major, the Mass in E-flat Major, the String Quintet in C major, his last three piano sonatas, and his last and greatest collection of songs, Schwanengesang (Swan Song), were written in 1828.
		In his early piano sonatas, Schubert worked to free himself from the influence of Ludwig van Beethoven.
		Although he cast his symphonies and sonatas in classical outlines, in their development sections these works rarely achieve the dramatic tension that is the core of the classical sonata form; instead they tend to emphasize expansive melody and evocative harmonies.
	home.att.net /~catbyte7music/classics/sonata (677 words)

	The Ghost Sonata Summary Study Guide by August Strindberg
		The Ghost Sonata is one of August Strindberg's "Chamber Plays," a series of short, simple dramas he wrote for his 161-seat Intimate Theatre, which opened its doors in Stockholm, Sweden in 1907.
		The themes of The Ghost Sonata mainly relate to secrets, illusions, and the disappointments and tragedies of life, and it is the revelation of these terrible details of the characters' past lives that form the action of the play.
		On stage, his vision of an alternate reality was a forerunner to later twentieth century experiments in non-realistic dramatic literature, such as Expressionism, popular in Germany in the 1920s, and the Absurdist movement of the 1950s, made popular by writers like Samuel Beckett, Eugene lonesco, and Jean Genet.
	www.bookrags.com /guides/ghostsonata (617 words)

	Essays Before a Sonata (Site not responding. Last check: 2007-11-05)
		The mud may be a form of sincerity which demands that the heart be translated, rather than handed around through the pit.
		There are reformers, and in "the form" lies their interest, who prefer to stand on the plain, and then insist they see from the summit.
		Wagner seems to take Hugo's place in Faguet's criticism of de Vigny that, "The staging to him (Hugo) was the important thing--not the conception--that in de Vigny, the artist was inferior to the poet"; finally that Hugo and so Wagner have a certain pauvrete de fond.
	www.blackmask.com /books34c/ivess.htm (15289 words)

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