The sonata
Thomas Schmidt-Beste.
Bok Engelsk 2011 Thomas. Schmidt-Beste,· Electronic books.
| Utgitt | Cambridge, U.K. ; New York : : Cambridge University Press, , 2011.
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| Omfang | 1 online resource (280 p.)
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| Opplysninger | Original edition Die Sonate. Geschicte-Formen-Ästhetik (BVK 1155) by Thomas Schmidt-Beste.. - Reprinted 2011.. - Cover; Cambridge Introductions to Music: The Sonata; Title; Copyright; Contents; Musical examples; Tables; Preface; Chapter 1 Definitions; 1.1 Sonata and canzona; 1.2 Sonata and sinfonia; 1.3 Sonata and concerto; 1.4 Sonata and suite/partita; 1.5 The sonata and free instrumental genres: toccata - ricercar - capriccio - fantasia; 1.6 Summary: instrumentation, form, texture or function?; Chapter 2 Form; 2.1 The 'free' sonata in the seventeenth century; 2.2 Corelli and his legacy; 2.2.1 The sonata da chiesa; 2.2.2 The sonata da camera; 2.2.3 Corelli's followers in the eighteenth century. - 2.2.4 Regional traditions2.3 Sonata cycles and 'sonata form' after 1750; 2.3.1 Fast movements: 'sonata form' and related categories; 2.3.1.1 From dance form to sonata form; 2.3.1.2 Terminology; 2.3.1.3 The exposition; 2.3.1.4 The development; 2.3.1.5 The recapitulation; 2.3.1.6 The re-entry; 2.3.1.7 The transition; 2.3.1.8 The recapitulation as a result of events in the exposition and development; 2.3.1.9 Extra options: slow introduction and coda; 2.3.2 Sonata form - bipartite or tripartite?; 2.3.3 Slow movements; 2.3.4 Minuet and scherzo; 2.3.5 Finales. - 2.4 Beethoven's sonatas - consummating or transcending Classical form?2.4.1 Construction of themes and their elaboration; 2.4.1.1 Types of theme; 2.4.1.2 Thematic contrast and thematic derivation; 2.4.1.3 Elaboration and transformation of themes and motives; 2.4.2 Slow introduction and coda; 2.4.3 Manipulations of the tonal process; 2.4.3.1 Major-key recapitulation in minor-key movements; 2.4.3.2 Third relations versus fifth relations; 2.4.4 New slow-movement types; 2.4.5 The upgrading of the dance movement; 2.4.6 Final movements; 2.4.7 Camouflaging the formal structure; 2.5 The cycle. - 2.5.1 Sequence and combination of movements2.5.2 Tonal structures; 2.5.3 Transitions; 2.5.4 Motivic unity and quotations; 2.6 The sonata after Beethoven; 2.6.1 Franz Schubert; 2.6.2 Sonata composition after c. 1830; 2.6.2.1 Motivic unity - motivic derivation - developing variation; 2.6.2.2 Quotation; 2.6.2.3 Tonal structure; 2.6.2.4 Integration on multiple levels: Schumann's Piano Sonata, Op. 11; 2.6.2.5 The amalgamation of the sonata cycle with sonata form: Franz Liszt's B minor Sonata; 2.7 Sonata composition in the twentieth century; 2.7.1 The sonata in the nineteenth-century tradition. - 2.7.2 The neo-classicist and historicist sonata2.7.3 The sonata as generic 'piece for instrument(s)'; 2.7.4 The eclectic sonata; Chapter 3 Functions and aesthetics; 3.1 Locations and occasions; 3.2 Target groups: professionals, connoisseurs and amateurs; 3.3 Learned style; 3.4 Virtuosity; 3.5 Sonata form as an aesthetic paradigm; 3.6 Absolute music? On meaning and programmaticism; Chapter 4 Scoring and texture; 4.1 Developments in the seventeenth and eighteenth centuries; 4.1.1 Number of instruments; 4.1.1.1 The ensemble sonata; 4.1.1.2 The sonata for small ensemble. - 4.1.2 Nature and formation of the ensemble. - An introductory survey of the most enduring and popular genre of instrumental music, perfect for students, teachers and performers.
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| Emner | |
| Sjanger | |
| Dewey | |
| ISBN | 9780521756310. - 9780521762540
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