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Sonata form is fundamentally a dramatic structure that creates, manipulates, and ultimately satisfies expectation. It engages its audience by inviting prediction, association, and interpretation. That sonata form was the chief vehicle of dramatic instrumental music for nearly 200 years is due to the power, the universality, and the tonal and stylistic adaptability of its conception. This book presents nine studies whose central focus is sonata form. Their diversity attests both to the manifold analytical approaches to which the form responds, and to the vast range of musical possibility within the form's exemplars. At the same time, common compositional issues, analytical methods, and overarching perspectives on the essential nature of the form weave their way through the volume.
Gordon Sly is Associate Professor of Music Theory at the Michigan State University College of Music, USA.
Chapter 1 The Divided Tonic in the First Movement of Beethoven's Op. 132, FrankSamarotto; Chapter 2 Types, Tokens, and Figaro, MatthewShaftel; Chapter 3 Mahler's Third Symphony and the Dismantling of Sonata Form, WilliamMarvin; Chapter 4 Motivic Design and Coherence in the First Movement of Schubert's "Arpeggione" Sonata D. 821, EvanJones; Chapter 5 Reading Mozart's Piano Sonata in D Major (K. 311) First Movement, NeilMinturn; Chapter 6 Design and Structure in Schubert's Sonata Forms, GordonSly; Chapter 7 On Chopin's Fourth Ballade, EdwardLaufer; Chapter 8, AlanGosman; Chapter 9 A-Major Events, BrianAlegant;
