Add to ORKGAlexander Ludwig asserts that Hepokoski and Darcy\u27s Elements of Sonata Theory: Norms, Types, and Deformations in the Late Eighteenth-Century Sonata unduly marginalizes Haydn\u27s music by persistently labeling it as witty, humorous or deformational. Ludwig suggests two modifications to this sonata theory that would make it a more historically accurate tool for considering Haydn\u27s music, and by extension a more faithful representation of the body of eighteenth-century instrumental music
James MacKay reviews Damschroder\u27s new, very detailed study, published by Cambridge University Pr...
Two analytical case studies, from Haydn’s minuet al roverso (from the Symphony Hob. I: 47) and the o...
Teaching eighteenth-century music effectively, particularly at a conservatory where the students are...
Anyone who has spent any serious analytical time with eighteenth-century music knows that standard f...
Recent approaches to Formenlehre tend to prioritize music of the late eighteenth century, and by ext...
In his classic article “Sonata Form Problems” Jens Peter Larsen warned of analytic pitfalls that res...
In 1963, Jens Peter Larsen published an article entitled “Sonata Form Problems,” in which he outline...
Both James Hepokoski and Warren Darcy’s Sonata Theory and William Caplin’s theory of formal function...
Haydn’s single-movement settings of the Kyrie text have long been analyzed within a sonata-form para...
The first movements of Tchaikovsky’s Fourth and Brahms’s Third Symphonies are examined from the pers...
The third movement of Symphony No. 47 has long been celebrated as one of Haydn’s most extraordinary ...
Thanks to the work of Janet Schmalfeldt, James Hepokoski, Steven Vande Moortele, and others, progres...
Recent theories of sonata form compensate for a perceived overemphasis on harmonic structure during ...
Haydn’s keyboard sonatas have not received much attention in music theory textbooks—at least in comp...
Haydn's approach to form is underserved by current theories as discussed by Burstein (2016), Duncan ...
James MacKay reviews Damschroder\u27s new, very detailed study, published by Cambridge University Pr...
Two analytical case studies, from Haydn’s minuet al roverso (from the Symphony Hob. I: 47) and the o...
Teaching eighteenth-century music effectively, particularly at a conservatory where the students are...
Anyone who has spent any serious analytical time with eighteenth-century music knows that standard f...
Recent approaches to Formenlehre tend to prioritize music of the late eighteenth century, and by ext...
In his classic article “Sonata Form Problems” Jens Peter Larsen warned of analytic pitfalls that res...
In 1963, Jens Peter Larsen published an article entitled “Sonata Form Problems,” in which he outline...
Both James Hepokoski and Warren Darcy’s Sonata Theory and William Caplin’s theory of formal function...
Haydn’s single-movement settings of the Kyrie text have long been analyzed within a sonata-form para...
The first movements of Tchaikovsky’s Fourth and Brahms’s Third Symphonies are examined from the pers...
The third movement of Symphony No. 47 has long been celebrated as one of Haydn’s most extraordinary ...
Thanks to the work of Janet Schmalfeldt, James Hepokoski, Steven Vande Moortele, and others, progres...
Recent theories of sonata form compensate for a perceived overemphasis on harmonic structure during ...
Haydn’s keyboard sonatas have not received much attention in music theory textbooks—at least in comp...
Haydn's approach to form is underserved by current theories as discussed by Burstein (2016), Duncan ...
James MacKay reviews Damschroder\u27s new, very detailed study, published by Cambridge University Pr...
Two analytical case studies, from Haydn’s minuet al roverso (from the Symphony Hob. I: 47) and the o...
Teaching eighteenth-century music effectively, particularly at a conservatory where the students are...