Two-Dimensional Sonata Form - Steven Vande Moortele

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Résumé :
Two-Dimensional Sonata Form is the first book dedicated to the combination of the movements of a multimovement sonata cycle with an overarching single-movement form that is itself organized as a sonata form. Drawing on a variety of historical and recent approaches to musical form (e.g., Marxian and Schoenbergian Formenlehre, Caplin's theory of formal functions, and Hepokoski and Darcy's Sonata Theory), it begins by developing an original theoretical framework for the analysis of this type of form that is so characteristic of the later nineteenth and early twentieth century. It then offers an in-depth examination of nine exemplary works by four Central European composers: the Piano Sonata in B minor and the symphonic poems Tasso and Die Ideale by Franz Liszt, Richard Strauss's tone poems Don Juan and Ein Heldenleben, the symphonic poem Pelleas und Melisande, the First String Quartet and the First Chamber Symphony by Arnold Schoenberg, and Alexander Zemlinsky's Second String Quartet....

Biographie:

Acknowledgements

Introduction

Chapter 1 Tw?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
Notes

Chapter 2 L iszt's B-minor Sonata
The locus romanticus of tw?dimensional sonata form
The exposition of the overarching sonata form
Identification: first movement and exposition
Interpolation: the slow movement
Identification: scherzo-finale and recapitulation-coda
Notes

Chapter 3 L iszt: Tasso and Die Ideale
Tw?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)
Notes

Chapter 4 S trauss: Don Juan and Ein Heldenleben
Strauss and Liszt
Don Juan Op. 20 (1888-89)
Ein Heldenleben Op. 40 (1897-98)
Notes

Chapter 5 Schoenberg's Pelleas und Melisande
Before Pelleas
Pelleas und Melisande Op. 5 (1902-03)
Notes

Chapter 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
Notes

Chapter 7 S choenberg's First Chamber Symphony
Overview
Identification
Interpolation
Recapitulation, coda, and finale
Notes

Chapter 8 Z emlinsky's Second String Quartet
First approach
Identification
Interpolation
Notes

Conclusion: The significance of two-dimensional sonata form

Appendix: M easure-Number Tables

Bibliography

Index of Names and Works