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Diverging Subordinate Themes and Internal Transitions: Assessing Internal Modulations in Three‐Key Expositions

Diverging Subordinate Themes and Internal Transitions: Assessing Internal Modulations in... Recent scholarship on the ‘three‐key exposition’ has drawn attention to its historical evolution, Schenkerian voice‐leading considerations and issues with cadences and internal ‘crises’ in Schubert's three‐key expositions. One question remains to be answered: How and where do composers get from the second key to the third? Using William Caplin's theory of formal functions to help classify those internal modulations, this paper will assess strategies employed in these unique expositional layouts. Using a range of works from Haydn to Tchaikovsky, a number of categories for such modulations are identified on the basis of their location within the relevant subordinate theme. These categories are then used to examine the nature of second modulations, and to adapt Caplin's theory to promote a clearer understanding of the harmonic richness and formal complexity of nineteenth‐century sonata style. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Diverging Subordinate Themes and Internal Transitions: Assessing Internal Modulations in Three‐Key Expositions

Music Analysis , Volume 39 (2) – Jul 1, 2020

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Publisher
Wiley
Copyright
Music Analysis © 2020 John Wiley & Sons Ltd
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/musa.12153
Publisher site
See Article on Publisher Site

Abstract

Recent scholarship on the ‘three‐key exposition’ has drawn attention to its historical evolution, Schenkerian voice‐leading considerations and issues with cadences and internal ‘crises’ in Schubert's three‐key expositions. One question remains to be answered: How and where do composers get from the second key to the third? Using William Caplin's theory of formal functions to help classify those internal modulations, this paper will assess strategies employed in these unique expositional layouts. Using a range of works from Haydn to Tchaikovsky, a number of categories for such modulations are identified on the basis of their location within the relevant subordinate theme. These categories are then used to examine the nature of second modulations, and to adapt Caplin's theory to promote a clearer understanding of the harmonic richness and formal complexity of nineteenth‐century sonata style.

Journal

Music AnalysisWiley

Published: Jul 1, 2020

References