Access the full text.
Sign up today, get DeepDyve free for 14 days.
Loading next page...
/lp/wiley/continuous-exposition-in-mozart-s-slow-chamber-music-movements-cI2diIZEmV
References (38)
-
Carl Schachter, Joseph Straus (2016)
The Art of Tonal Analysis: Twelve Lessons in Schenkerian Theory -
L. Burstein (2020)
Journeys Through Galant Expositions -
Wayne Petty (1999)
Koch, Schenker, and the Development Section of Sonata Forms by C. P. E. BachMusic Theory Spectrum, 21
-
Heinrich Christoph Koch (1802)
Musikalisches Lexicon -
W. Caplin, N. Martin (2016)
The ‘Continuous Exposition’ and the Concept of Subordinate ThemeMusic Analysis, 35
-
William Caplin, James Hepokoski, James Webster (2009)
Musical Form, Forms & Formenlehre: Three Methodological Reflections -
Danuta Mirka (2021)
Hypermetric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 -
Lauri Suurpaa (1999)
Continuous Exposition and Tonal Structure in Three Late Haydn WorksMusic Theory Spectrum, 21
-
James Hepokoski, Warren Darcy (2006)
Elements of Sonata Theory: Norms, Types, and Deformations in the Late‐Eighteenth‐Century Sonata -
Wayne C. Petty, C. P. E. Bach (1999)
Koch, Schenker, and the Development Section of Sonata Forms by, 21
-
James Webster (1991a)
Haydn's ‘Farewell’ Symphony and the Idea of Classical Style: Through‐Composition and Cyclic Integration in His Instrumental Music -
Fred Lerdahl, Ray Jackendoff (1983)
The Generative Theory of Tonal Music -
Giorgio Sanguinetti (2012)
The Art of Partimento: History, Theory, and Practice -
William Caplin (1998)
Classical Form: a Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven -
James Webster (1991b)
Mozart Studies -
(1991)
Wordless Rhetoric -
Robert O. Gjerdingen (2007)
Music in the Galant Style -
Mark Evan Bonds (1991)
Wordless Rhetoric: Musical Form and the Metaphor of the Oration -
Nathan John Martin (2015)
Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno -
Stefanie Tcharos (2009)
The Cambridge History of Eighteenth‐Century Music -
William Caplin (2008)
Communication in Eighteenth‐Century Music -
James Hepokoski (2016)
Sonata Theory, Secondary Themes and Continuous Expositions: Dialogues with Form‐Functional TheoryMusic Analysis, 35
-
Janet Schmalfeldt (1992)
Cadential processes: The evaded cadence and the “one more time” techniqueJournal of Musicological Research, 12
-
(2011)
Viennese Classicism and the Sentential Idea: Broadening the Sentence Paradigm -
Janet Schmalfeldt (2011)
In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth‐Century Music -
Jens Peter Larsen (1988)
Handel, Haydn, and the Viennese Classical Style, trans. Ulrich Krämer -
Charles Rosen (1988)
Sonata Forms -
Roger Kamien, N. Wagner (1997)
Bridge Themes within a Chromaticized Voice Exchange in Mozart ExpositionsMusic Theory Spectrum, 19
-
Carl Schachter (2016)
The Art of Tonal Analysis: Twelve Lessons in Schenkerian Analysis -
William Rothstein (1989)
Phrase Rhythm in Tonal Music -
(2014)
Larsen's Legacy: the Three‐Part Exposition and the New Formenlehre -
(2005)
Quasi‐Auxiliary Cadence Beginning on a Root‐Position Tonic Chord: Some Preliminary Observations -
James Hepokoski, W. Darcy (2006)
Elements of Sonata Theory -
James Hepokoski, W. Darcy (1997)
The Medial Caesura and Its Role in the Eighteenth-Century Sonata ExpositionMusic Theory Spectrum, 19
-
Danuta Mirka (2021)
Hypermetric Manipulations in Haydn and Mozart -
W. Caplin (2004)
The Classical Cadence: Conceptions and MisconceptionsJournal of the American Musicological Society, 57
-
Steven Moortele (2017)
The Romantic Overture and Musical Form from Rossini to Wagner -
Peter Smith (2014)
Schumann’s Continuous Expositions and the Classical TraditionJournal of Music Theory, 58
- Publisher
- Wiley
- Copyright
- Music Analysis © 2022 John Wiley & Sons Ltd.
- ISSN
- 0262-5245
- eISSN
- 1468-2249
- DOI
- 10.1111/musa.12199
- Publisher site
- See Article on Publisher Site
Abstract
The literature on continuous exposition is characterised by two features: (1) concentration on the music of Haydn and (2) the examination of fast movements. This essay deviates from these starting points by examining Mozart's slow movements. The aim is to give close readings of a small number of works taken from a limited corpus rather than to provide an overview of Mozart's slow continuous expositions. The works concerned are the slow movements of three‐ and four‐movement chamber‐music works composed after 1775. Of the 42 slow movements in this corpus there are three with a continuous exposition: Larghetto from the Quintet for Piano and Winds, K. 452 (1784), Larghetto from the Quintet for Clarinet and Strings, K. 581 (1789), and Adagio from the String Quintet, K. 593 (1790). These expositions are analysed, and each of them is paired with another exposition from Mozart's slow chamber‐music works that features elements leading in K. 452, K. 581 and K. 593 to continuous organisation. The similarities notwithstanding, these expositions are interpreted as two‐part.
Journal
Music Analysis – Wiley
Published: Oct 1, 2022