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Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata

Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata 1. Sonata Theory, genre, and reader response Early in their work, as if to justify the production of so monumental a morphology in an era of widespread skepticism about the value of Formenlehre, Journal of Music Theory 57:2, Fall 2013 DOI 10.1215/00222909-2323515 © 2013 by Yale University JOURNAL of MUSIC THEORY H&D propose a via media, an approach to sonata form not so conformist as to make theory disreputable but not so particularist as to make theory impossible: "The reiterated conviction that there was no single plan for sonata form in the later eighteenth century, true enough in its narrow, literal sense, rises to the level of an error when it is naively taken either to dismiss the presence of substantially more complex systems of standard practices or to discourage inquiry into those practices. . . . Is an aesthetically sensitive openness to the study of convention within composition possible?" (7). It surely is, as we learn over the course of the next few hundred pages, as long as we start from a more sophisticated understanding of convention, one informed by genre theory, reader response theory, and hermeneutics. What becomes clear from H&D's introductory survey of the scene http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata

Journal of Music Theory , Volume 57 (2) – Sep 21, 2013

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References (24)

Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2323515
Publisher site
See Article on Publisher Site

Abstract

1. Sonata Theory, genre, and reader response Early in their work, as if to justify the production of so monumental a morphology in an era of widespread skepticism about the value of Formenlehre, Journal of Music Theory 57:2, Fall 2013 DOI 10.1215/00222909-2323515 © 2013 by Yale University JOURNAL of MUSIC THEORY H&D propose a via media, an approach to sonata form not so conformist as to make theory disreputable but not so particularist as to make theory impossible: "The reiterated conviction that there was no single plan for sonata form in the later eighteenth century, true enough in its narrow, literal sense, rises to the level of an error when it is naively taken either to dismiss the presence of substantially more complex systems of standard practices or to discourage inquiry into those practices. . . . Is an aesthetically sensitive openness to the study of convention within composition possible?" (7). It surely is, as we learn over the course of the next few hundred pages, as long as we start from a more sophisticated understanding of convention, one informed by genre theory, reader response theory, and hermeneutics. What becomes clear from H&D's introductory survey of the scene

Journal

Journal of Music TheoryDuke University Press

Published: Sep 21, 2013

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