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A permanent move at the age of 34, from Italy into the private services of Princess María Bárbara in Portugal, later in Spain, allowed Domenico Scarlatti to escape fame and stylistic classification. In the absence of a convincing category for Scarlatti's music – post‐Baroque? pre‐Classical?...
Between the mid‐1930s and the 1960s Dmitri Shostakovich composed a large number of sonata movements in which the structure is in dialogue with eighteenth‐ and nineteenth‐century conceptions of the form. Performative in nature, his use of the formal genre is clearly displayed, indeed highlighted...
One of the lesser‐known terms used by Gilles Deleuze to articulate his conception of difference – or, more accurately, of differentiation – as the condition of existence is ‘bifurcation’, the continuous process of splitting into ever‐more new pathways. Bifurcation is reflected in the life and...
The form of the first movement of Carl Nielsen's Sinfonia espansiva rejects the traditional three‐part sonata form in favour of an experimental two‐part strategy. The dialogue between the two types of sonata has an important impact on the way we hear this movement; from a rhetorical perspective,...
Scholars disagree about the stylistic norms surrounding the end of the development section in eighteenth‐century sonatas. Although most sonata theories claim that the typical development ends with a prolonged dominant of the home key, other work never mentions this prolongation and focuses...
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