The Sonata form (also sonata-allegro form or first movement form ) is a music structure consisting of three main parts: exposition, development, and recapitulation. It has been used extensively since the mid-18th century (early Classical period).
Although it is usually used in the first movement of multi-motion pieces, it is sometimes used in subsequent movements as well - especially the last movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for durability and various forms - the definitions that emerged in the second quarter of the 19th century. There is little disagreement that at the greatest level, the shape consists of three main parts: an exposition, a development, and a recapitulation; However, under this general structure, the shape of the sonata is difficult to translate into a single model.
The standard definition focuses on the thematic and harmonic tonal material organization presented in an exposition, elaborated and contrasted in development and then resolved harmoniously and thematically in the recapitulation. In addition, the standard definition recognizes that introduction and coda may exist. Each part is often subdivided or characterized by a special means by which it completes its function in form.
After its formation, the form of the sonata became the most common form in the first movement of the work entitled "sonata", as well as other long works of classical music, including symphonies, concertos, string quartets, and so on. Thus, there are many theories about what unites and differentiates practices in the form of sonata, both in the era and between eras. Even works that do not comply with the standard description of sonata form often present analogous structures or can be analyzed as elaboration or expansion of standard description of sonata form.
Video Sonata form
Menentukan' bentuk sonata '
According to the Grove Dictionary of Music and Musicians , the sonata form is "the most important principle of the musical form, or the formal type, from the Classical period to the 20th century." As a formal model it is usually best exemplified in the first movements of the multi-movement movement of this period, whether orchestra or space, and therefore, is often referred to as the "first form of movement" or "sonata-allegro form" (due to the typical first movement in a cycle of three or four movements will be in allegro tempo). However, because what Grove did, following Charles Rosen, is called a "principle" - a typical approach to forming a large part of instrumental music - can be seen to be active in larger pieces and genres, from minuets to concertos to sonata-rondo. It also carries an expressive connotation and style: "sonata style", to Donald Tovey as to other theorists of his time, characterized by drama, dynamism, and "psychological" approach to themes and expressions.
Although the Italian term sonata often refers to the inner part of the sonata form, it is important to separate the two. As the title for one part of the movement of instrumental music - past participle of suonare , "to sound", as opposed to cantata , past participle of cantare , "sing" - "sonata" includes many parts of the Baroque and mid-18th century that are not "in the form of sonata". By contrast, at the end of the 18th century or the "Classic" period, the title "sonata" is usually given for a work consisting of three or four movements. Nonetheless, this multi-movement sequence is not what is meant by a sonata form, which refers to the structure of individual movements.
The definition of a sonata form in terms of elements of music sits uncomfortably between two historical eras. Although the late 18th century witnessed the most exemplary achievements in form, especially from Joseph Haydn and Wolfgang Amadeus Mozart, the theory of time composition does not use the term "sonata form". Perhaps the most extensive contemporary descriptions of sonata-shape forms may have been given by the HC Koch theorist in 1793: like the earlier German theoreticians and unlike many of the form descriptions we use today, he defines them in terms of motion modulation plans and the main rhythm, without much talk about the theme treatment. Seen in this way, the shape of the sonata is closest to the binary form, from which it may be developed.
Models of forms that are often taught today tend to be more thematically differentiated. It was originally announced by Anton Reicha at the TraitÃÆ'Â © de haute composition musicale in 1826, by Adolf Bernhard Marx at Die Lehre von der Musikalischen Composition in 1845, and by Carl Czerny in 1848. Marx is probably the originator of the term "sonata form". This model comes from the study and criticism of the Beethoven piano sonata.
Definition as a formal model
The sonata-allegro movement is divided into sections. Each part is felt to perform certain functions in musical argument.
- This might start with introduction , which, in general, is slower than the main movement. In terms of structure, introductions are optimistic before major musical arguments.
- The first required part is exposition . The exposition presents the main thematic material for movement: one or two themes or groups of themes, often in contrasting and opposite lock styles, connected by modulation transitions. The exposure usually ends with a closing theme , a codetta , or both.
- Exposures are followed by development where possible harmonic and texture of thematic materials are explored.
- The developments then re-transition back to the recapitulation where the thematic material is back in the tonic key, and for recapitulation to complete the musical argument, material not yet declared in the tonic key "solved" by playable, in whole or in part, in tonics.
- This movement can end with coda , outside the end of recapitulation.
The term 'sonata form' is controversial and has been called misleading by scholars and composers almost from the beginning. The originator implies that there is a set of templates idealized by Classic and Romantic Fans, or should aspire to. However, the shape of the current sonata is seen as a model for musical analysis, rather than the practice of composition. Although the description on this page can be considered as an adequate analysis of many of the first movement structures, there is considerable variation so that theorists such as Charles Rosen have felt it to ensure plural in the form of sonatas.
These variations include, but are not limited to:
- monothematic expositions, in which the same material is presented in different keys, often used by Haydn;
- 'third subject group' in a key different from the other two, used by Schubert (eg in String Quintet, D.956), Brahms, and Bruckner;
- the first subject was recapitulated in a 'wrong' key, often sub-dominant, as in Sonata Piano no. 16 Mozart in C, K. 545 and Symphony Schubert. 5;
- the second subject group is kept under a key other than a tonic, as in Symphony Richard Strauss no. 2.
- and an extended part of the coda that pursues the development process, rather than conclude, that is often found in Beethoven's mid-period work, such as Symphony No. 3.
Through the Romantic period, formal distortions and variations become so widespread (Mahler, Elgar and Sibelius among others cited and studied by James Hepokoski) that the 'sonata form' as described here is not sufficient to describe the complex musical structure that is often applied.
In the context of many end-Baroque binary forms similar to sonata forms, the sonata form can be distinguished by the following three characteristics:
- separate development sections including retransitions
- the simultaneous return of the first subject and tonic
- full (or almost full) recapitulation of the second subject group
Maps Sonata form
Outline of sonata form
The standard description of the sonata form is:
Introduction
The Introduction section is optional, or it can be reduced to a minimum. If extended, in general, slower than the main part and often focus on the dominant key. It may or may not contain material which is then expressed in the exposition. The introduction increases the weight of the movement (such as the famous dissonant introduction to Mozart's Quartet "Dissonance" Quartet, KV 465), and also allows composers to start expositions with themes that would be too light to start on their own, as in Symphony No. 103 ("The Drumroll") by Haydn and Quintet Beethoven for Piano and Winds Op. 16. Introduction is usually not included in the repetition of expositions: PathÃÆ' Â © tique is an example that may be contradictory. Later, Piano Sonata No. 2 works by Chopin (Ops 35) is a clear example of where the introduction is included.
Sometimes, the recognition material reappears in its later tempo at a later time in motion. Often, this happens at the end of the coda, as in Quintet String Mozart in D major KV 593, "Drumroll" Symphony by Haydn, Beethoven's Piano Sonata no. 8 ("PathÃÆ' Â © tique"), or Schubert's Symphony No. 9 ("Great"). Sometimes it may appear earlier: it occurs at the start of development in the Sonata Pathata, and at the beginning of Schubert's Symphony recap. 1.
Exposition
The main thematic material for motion is presented in Exposure . This section can be subdivided into sections. The same part in most sonata form movements has prominent thematic and thematic parallelism (though in some works from the nineteenth century onwards, some of these parallelisms are subject to considerable exceptions), which include:
- First subject group , P (Prime) - this consists of one or more themes, all in tonic keys. Although some sections are written differently, most follow this form.
- Transitions , T - in this section the composer modifies from the first subject key to the second key. If the first group is in the primary key, the second group is usually in the dominant key. However, if the first group is in a minor key, the second group is usually a relative major.
- Second subject group , S - one or more themes in a different key than the first group. The material of the second group often differs in the rhythm or mood of the first group (often, more lyrical).
- Codetta , K - this goal is to bring the exposition part close to perfect rhythm in the same key as the second group. It is not always used, and some works end the exposition on the second subject group.
Expositions are usually repetitive, especially in classical works, and more likely in solo or space rather than concerti works. Often, though not always, the last size or size of the exposition is slightly different between repetitions, one to point back to the tonic, where exposition begins, and the second leads to development.
Development
In general, Development starts with the same key when expositions end, and can move through many different keys during the process. It will usually consist of one or more themes of modified and occasionally juxtaposed exposition and may include new material or themes - although acceptable practice is the point of contention. Changes include taking the material through a remote key, undermining the theme and sequence of motives, and so on.
Its development varies greatly from piece to piece and from time to period, sometimes being relatively short compared to expositions (eg, the first movement of Eine kleine Nachtmusik) and in other cases quite long and detailed ( for example, the first movement of "Eroica" Symphony). The developments in the Classical era were usually shorter because of how many composers of that era appreciated symmetry, unlike the more expressive Romantic era in which parts of development gained a far more important meaning. However, it almost always shows a greater degree of tonal instability, harmonics, and rhythm than any other part. In some cases, usually at the end of the Classical and Beginning Romantic Concerts, the development section consists of or ends with another exposition, often in minor minor of tonic keys.
In the end, the music will usually return to the tonic key in preparation for recapitulation. (Sometimes, it will actually return to the sub-dominant key and then proceed with the same transition as in the exposition). The transition from development to recapitulation is an important moment in work.
The last part of the development section is called Retransition : It prepares for the return of the first subject group in the tonic, most often through the seventh grand dominant extension. In addition, the music character will give you such a return signal.
Exceptions include the first movement of Brahms Piano Sonata No. 1. The general key to movement is C major, and then will follow that the retransition should emphasize the seven dominant chords on G. Instead, it builds the dominant seventh power. chord on C, as if the music proceeded to F major, only to immediately take the first theme in C major. Another exception is the fourth movement of Symphony Schubert. 9. The key home of this movement is C major. The retraction extends above the dominant chords on G, but suddenly takes the first theme in the middle of the broad E ? .
The most common exception is to dominant to be replaced by relative minor key domination: one example is the first movement of Haydn Quartet String in E major, Op. 54 No. 3.
Sometimes, retransitions can begin with a false recapitulation, in which the first theme group opening material is presented before the development is complete. The shock that occurs when music continues to modulate towards tonics can be used for either comic or dramatic effects. An example occurs in the first movement of the Haydn Quartet String in G major, Op. 76 No. 1.
Recapitulation
The Recapitulation is a modified repetition of the exposition, and consists of:
- First subject group - usually given an edge as the recapitulation highlight, usually in the exact same key and form as in the exposition.
- Transitions - often transitions are done by introducing new material: a kind of additional short development. This is called "secondary development".
- second subject group - usually in a form more or less the same as in the exposition, but now in the home key, which sometimes involves changing modes from major to minor, or vice versa, as happened in the first movement Mozart's Symphony No. 40 (K. 550). More often, however, it can rearrange in the main parallel key of the house (eg, C major when movement in C minor such as Beethoven's Symphony No. 5 in C Minor, op 67/I). The key here is more important than the mode (big or small); recapitulation provides the necessary balance even if the material modes are changed, provided there is no longer a key conflict.
Exceptions to the recapitulation form include the works of Mozart and Haydn which often begin with the second subject group when the first subject group has been described in length in progress. If the theme of the second subject group has been described in length in development in the key of completion such as the major or minor tonic or subdominant, it can also be omitted from the recapitulation. Examples include the opening movement of Mozart's piano sonata in C minor, KV 457 and Haydn String Quartet in G major, Op. 77 No. 1.
After the closing rhythm, the exact musical argument is said to be finished in harmony. If the movement continues, it is said to have a coda.
Coda
The Coda is optional. After the final irritation of the recapitulation, the movement can proceed with coda which will contain the material from the proper movement. Codas, at present, varies greatly in length, but such an introduction is not part of the "argument" of the work. However, the coda will end up with a perfect authentic rhythm in its original key. Codas can be fairly short tailpieces, or they may be very long and complicated. An example of a wider type is the coda for the first movement of the Beethoven Ephica Symphony, and a very long coda appears at the end of Symphony No. 1. 8 Beethoven.
The explanation of why an expanded coda varies. One reason may be to eliminate the repetition of parts of development and recapitulation found in earlier sonata forms in the 18th century. Indeed, Beethoven's extended codas often serve the purpose of further development of thematic material. Another role sometimes played by this kodak is to return to the minor mode in minor-key movements where the proper recapitulation is terminated in parallel majors, as in the first movement of Beethoven Symphony no. 5 or Schumann Piano Concert, or rarely, to restore house keys after an off-tonic recapitulation, as in the first movement of Brahms's Clarinet Quintet and Dvo? ÃÆ'¡k's Symphony No. 9.
Variations on standard schemes
Monothematic expositions
It is not always the case that moving to a dominant key in an exposition is marked by a new theme. Haydn especially likes to use the opening theme, often in a cut or altered form, to announce the move to dominance, as in the first movement of his Sonata Hob. XVI No. 49 in E ? major. Mozart also occasionally wrote such exposition: for example in Piano Sonata K. 570 or String Quintet K. 593. Such expositions are often called monothematic , meaning that one theme serves to establish the opposition between the tonic and dominant key. The term is misleading, since most of the "monotheism" works have several themes: most of the labeled works have additional themes in the second subject group. Rarely, as in the fourth movement of Haydn's String Quartet in B ? major, Op. 50, No. 1, does the composer do tour de force write a complete sonata exposition with just one theme. A more recent example is Edmund Rubbra's Symphony No. 2.
The so-called monothematic exposition usually has an additional theme used by Charles Rosen to illustrate his theory that the crucial element of the classic sonata form is a kind of dramatization of the dominant arrival. Using a new theme is a very common way to achieve this, but other resources such as texture changes, prominent rhythm and so on are also accepted practice.
Exposures that modulate to another key
The key of the second subject may be something other than dominant (for main mode sonata movement) or relatively major (for minor-key movements). The second option for small sonata shape movements is to modulate into the dominant minor; However, this choice robs the sonata structure of the space of comfort and space that will be carried by mainstream mainstream themes, and is therefore used primarily for dreary and gloomy effects, as Beethoven does with a certain frequency.
About half of his career, Beethoven also began experimenting with the tonal relationship between the tonic and the second subject group. The most common practice, for Beethoven and many other composers of the Romantic era, is to use a mediant or submediant, rather than a dominant one, for a second group. For example, the first movement of the "Waldstein" sonata, in C major, modulated to major E major, while the sonata opening movement "Hammerklavier", in B ? major, modulate into primary submediant G, and String Quartet no. 13 in the same key modulation with a flattened submedi key of G ? major. Tchaikovsky also applied this practice in the last movement of Symphony No. 2; this movement in C major and modulate it into subordinate flat A ? major. Young Chopin even experimented with an exposition that did not modulate at all, in the opening movement of the Piano Sonata no. 1 (remaining in C minor throughout) and Piano Concerto No. 1 (moved from E minor to E major).
Beethoven began also using submediant majors with more frequencies in small sonata form movements, as in the first movement of Symphony No. 9, Piano Sonata No. 32, and String Quartets No. 11 and No. 15. Interestingly, the latter case transposes the second repetition of the exposition by a fifth, beginning in the minor dominant (not the tonic) and finishing at the main mediator (not the submediant). The first movement of Symphony No. 2 Richard Strauss, in F minor, modulated on the dawn of D ? is small, as F minor moves the first movement of Brahms's first clarinet sonata and piano quintet; all three work to balance these three downs by moving to the main intermediate (A major) for the keys of the second movement.
Rarely, the motion of a major mode sonata mode will modulate into a minor key for the second subject area, such as minor mediant (Beethoven Sonata Op. 31/1, i), relative minor (first movement Beethoven Triple Concerto and Brahms Piano Trio No. 1) or even minor minor (Brahms Piano Concerto No. 2, i). In such cases, the second theme will often return initially in minor tonics in recapitulation, with the main mode being restored later.
During the final Romantic period, it is also possible to modulate into the distant tonal areas to represent octave divisions. In the first movement of Symphony No. 4 Tchaikovsky, the first subject group is in the F minor tonic but modulate G ? minor and then to B major for the subject of both groups. Recapitulation starts at D minor and modulates to F major, and returns to parallel F minor for coda.
Also at the end of the Romantic period, it is possible for minor-key sonata form movements to modulate the main dominant, as in the first movement of Symphony No. 1 and Symphony No. 49 Brahms. 4. Another possibility for minor-key sonata form movements is to modulate into minor intermediaries, as in the first movement of Brahms' Symphony No. 1. 1; the second subject group starts in the relative E ? main and then go to minor mediant E ? minor.
Expositions with more than two main fields
Exposition requires not only two main areas. Some composers, especially Schubert, form sonata with three or more main areas. The first movement of Schubert's Quartet in D minor, D. 810 ("Death and the Maiden"), for example, has three separate keys and thematic areas, in D minor, F major, and A minor. Similarly, Piano Concerto Chopin in F minor uses F minor, A ? major, and C minor in the first movement exposition. In either case, the transition is i- ? III-v, an elaboration of a minor scheme using either i- ? III or iv. This is not the only scheme, however: the opening movement of Schubert's Violin Sonata in G minor, D. 408, uses the scheme i- ? III- ? VI, and the opening movement of Schubert's Symphony No. 2 in B ? major, D. 125, using the I-IV-V scheme. An extreme example is the end for Schubert's Symphony No. 6, D. 589, which has a six-key exposition (C major, Major, A major, E ? span> , and G major), with new themes for each key.
Mods in the first subject group
The first subject group does not need to be fully in tonic keys. In the more complex exposition of the sonata there may be a short modulation for the key far enough, followed by a tonic reassertion. For example, Mozart Quintet String in C, K. 515, visited C minor and D ? as chromaticism in the first C-main subject group, before finally moving to D major, dominant major majors (G major), preparing the second subject group in the dominant. Many of the works by Schubert and the composers then use a further harmonic convolution. In the first subject group of Piano Sonata Schubert in B ? , D. 960, for example, the theme is presented three times, in B ? major, in G ? major, and then again in B ? major. The second subject group is even wider. It starts in F ? minor, move to A major, then via B ? to F major.
Recapitulation in "wrong key"
In the recapitulation section, the key of the first subject group may be in a key other than the tonic, most commonly in the subdominant, known as the "subcapital recapitulation". In some parts by Haydn and Mozart, such as Sonata Piano no. 16 Mozart at C, K. 545, or the end of String Quartet no. 14 in G, K. 387, the first subject group will be in the subdominant and then the modulation returns to the tonic for the second subject group and the coda. Schubert is a prominent user of sub-dominant recapitulation; it appears for example in the opening movement of Symphonies No. 2 and No. 5, as well as the piano sonatas D 279, D 459, D 537, D 575, as well as finale D 664. Sometimes these effects are also used for fake reprises in "wrong keys" which are immediately followed by the actual recapitulation in the tonic, as in the first movement Haydn's quartet op. 76 No. 1 in G (wrong reprise on subdominant), or Schubert piano finale sonata at A, D 959 (fake reprise on the main submediant). A special case is a recapitulation that begins in minor tonics, for example in the slow motion of Haydn's Quartet Op. 76 No. 4 on E ? , or the opening movement of Symphony Haydn No. 47 in the G major. In the Classical period, the subdomain is the only possible substitute for tonics in this position (because any other key will require resolution and should be introduced as a fake reaper in development), but with the erosion of the difference between sharp and flat directions and obscure the tonal area a true recapitulation starting on another key becomes possible after about 1825.
It is also possible for the first subject group to start in tonics (or keys other than tonics), modulate to another key and then return to tonics for the second subject group. At the end of the original version of 1872 of Symphony Tchaikovsky No. 2, the first subject group starts in C tonic majors, modulate into E ? major, then through E major, and then modulate back to tonics for the second subject group and coda. And in the last movement of Symphony Schubert no. 9 in C major, the first subject group is in the middle row of E ? , modulate to F major subdominant and then return to tonics for both subject groups and coda. It is also possible to have a second subject group in a key other than a tonic while the first subject group is in the home key. For example in the first movement of Symphony No. 2 Richard Fuss in F minor, the recapitulation begins with the first subject group on the tonic but modulates to mediation A ? for the second subject group before modulation back to F minor for coda. Some Romantic works even show a progressive tone of voice in the form of a sonata: for example, the second 'Quasi-Faust' movement from Charles-Valentin Alkan's Grande sonate 'Les quatre ÃÆ' Â ¢ ges' is in D < span>? minor, and when the exposition moves from D ? to the main sub-dominant G ? major, recapitulation starts again in D ? minor and ending in f major F ? major, and stay there until the end of the movement. Such a scheme may have been constructed to conform to the programmatic nature of the movement, but also match the Romantic tendency to start a job at its maximum stress and reduce the tension thereafter, so that the final stability point is not reached until the last possible moment. (Next, identify the minor key with a relative major common in the Romantic period, replacing previous Classical identification of minor keys with parallel majors.)
Crashed recapitulation
In some parts of the sonata form, in the recapitulation, the first subject group is omitted, leaving only a second subject group, such as the second movement of Haydn's Sonata Hob. XVI/35, as well as Piano Sonata Chopin opening movement. 2 and No. 3. It is also possible for the first subject group to be slightly different in exposition comparisons, such as the fourth movement of Symphony Dvorak No. 9. Another example occurs at the end of the quartet of the Mozart KV 387 string, in which the opening of the first subject group is cut, and in quintet KV 515, where the last part of the first subject group is cut. On the other hand, it is also possible for the subject group to be reversed in sequence, such as the fourth movement of Symphony No. 7 Bruckner, or Mozart's first piano sonata movement in D major, KV 311. It is also possible for a second subject group to be omitted, such as the fourth movement of Symphony No. 5 Shostakovich, as well as the second movement of the Beethoven Quartet String no. 9. The melody of the second subject group may differ from the exposition, such as Haydn's Symphony No. 44. Such melodic adaptations are common in small sonata forms, when the second subject mode needs to be changed, for example in the Mozart KV 388 air-guard opening act.
The crushed recapitulation sometimes briefly recapitulates the second theme in the tonic key at the end of the first theme as a "false start", before the transition arrives, which then transitions towards the second real theme in the tonic before the closing. An example occurs in the first movement of Piano Sonata Hobdn's Piano. XVI-23.
The shape of a truncated sonata
Sometimes, especially in some Romantic works, the form of the sonata extends only to the end of the exposition, at which point the piece goes directly to the next movement and not the development part. One example is the Violin Concerto No. 2 in D minor Henryk Wieniawski. Another example is Fritz Seitz's Violin Concertos for students, where the shape of a truncated sonata is used as if to reduce the length of the first movement. Sometimes, the third movement of the works is the recapitulation of the first movement (one example is Franz Strauss' Horn Concerto in C Minor), making the whole work effectively a single-motion sonata.
Some Slow Classical movements involve different types of cuts, in which the development part is replaced altogether by a short retransition. This happens in slow motion of the quartet Mozart KV 387, KV 458, KV 465, KV 575, and KV 589. It is also common in bids, occurring for example in Schubert's Overture in the Italian Style in C, D 590. This differs from a brief development, as in the opening movement of Mozart's Violin Sonata in the G major, KV 379.
Sonata form in concerti
An important variant on the traditional sonata-allegro form is found in the first movement of the Classical Concerto. Here, the 'repeated expositions' of sonata-allegro are replaced by two distinct but related sections: 'tutti exposition' and 'solo exposition'. Prototypically 'tutti exposition' does not feature soloists (except, in the early classical works, in the 'continuo' role), and does not contain the deciphering sonata-interpreting modes of the secondary key. Only when the 'solo exposition' is in progress does the solo instrument assert itself and participate in a move to (classically) the dominant or relative majors. The situation only looks different in the case of late classics such as Beethoven's piano concertos no. 4 and No. 5, where the soloist is heard at the beginning: when the movements that are later revealed make the opening of the solo piano or the beginning of the piano breed actually precedes the beginning of the proper exposition. This device was also found at the beginning of Mozart Concerto, No. 9, as well as in many Romantic Concerto, such as Grieg A A minor concerto or Brahms' B ? main concerto.
The structural features made possible by the special texture situation of the concerto are the 'ownership' of a theme or a particular material by a solo instrument; such materials will not be exposed until the 'solo' exposition. Mozart likes to spread his themes in this way.
Toward the end of the recapitulation of the concerto movement in the form of sonata, there is usually cadenza for soloists only. It has an improvised character (may or may not be completely improvised), and, in general, serves to extend harmonic tension on a predominant quality chord before the orchestra ends the interior of the tonic.
History of sonata form
The term sonata was first discovered in the 17th century, when instrumental music was just beginning to become increasingly separate from vocal music. The original meaning of the term (derived from the Italian word suonare, to be heard on the instrument) is called a piece to play, differentiated from cantata , a piece to sing. At the moment, this term implies a binary form, usually AABB with some aspects of the three part forms. Early examples of simple pre-classic sonata forms include Pergolesi Trio Sonata No. 3 in G Major.
The Classical Era sets the norms of the first movement of movements and the layout of multi-motion work standards. There are periods of various layouts and formal structures in the first movements that gradually become the norms of expected composition. The practice of Haydn and Mozart, as well as other well-known composers, became increasingly influential on the generation that sought to exploit the possibilities offered by the forms Haydn and Mozart built in their works. In time, theories about the layout of the first movement became more focused on understanding the practice of Haydn, Mozart, and, later, Beethoven. Their works are studied, patterns and exceptions for identifiable patterns, and the limits of acceptable or ordinary practices established by the understanding of their works. The shape of the sonata as described is strongly identified with the norms of the Classical period in music. Even before being described the shape has become the center of making music, absorbing or changing other formal schemes to work. Examples include the Beethoven sonata Appassionata .
The Romantic Era in music is to accept the centrality of this practice, to formally modify the form and to make instrumental music in this form the center for the composition and practice of concerts and spaces, especially for works intended to be regarded as the "serious" work of music. The various controversies in the 19th century will center on what the implications of "development" and actual sonata practice mean, and what the roles of the Classical masters are in music. It is ironic that, at the same time that the form is being codified (by people like Czerny and so on), the composers today are writing works that openly violate some codified form principles.
It continues to influence through the history of classical music further into the modern period. The 20th century brought many scholarships that tried to find the sonata form theory on the basic tonal law. The 20th century will see a continuous expansion of acceptable practices, leading to the formulation of existing ideas "sonata principles" or "sonata ideas" that unite such works, even if they do not explicitly meet the demands of the description normative.
Sonata shapes and other musical forms
The shape of the sonata shares characteristics with binary and ternary forms. In terms of key relationships, it is very much like a binary form, with the first half moving from the house key to the dominant and the second half moving back again (this is why the form of a sonata is sometimes known as a compound binary form); in another way it is very much like the ternary form, divided into three parts, the first (exposition) of a certain character, the second (development) is different, the third part (recapitulation) is equal to the first.
The early binary sonatas by Domenico Scarlatti provide an excellent example of the transition from binary form to sonata-allegro. Among the many sonatas are many examples of true formata sonata made in place.
The sonata form theory
The form of a sonata is a guide for composers for their schematic work, for translators to understand the grammar and meaning of the work, and for the audience to understand the significance of music events. Some music details are determined by the meaning of the harmonics of a particular tone, chord, or phrase. The shape of the sonata, because it depicts the shape and hierarchy of a movement, tells the players what to emphasize, and how to form the phrase music. His theory began with a description, in the 18th century, a scheme for work, and codified at the beginning of the 19th century. This codified form is still used in the pedagogy of sonata form.
In the twentieth century, the emphasis shifted from the study of themes and the key to how harmony changed through the course of work and the importance of rhythm and transition in building a sense of "closeness" and "distance" in the sonata. Heinrich Schenker's work and his ideas about the "foreground", "middle field", and "background" became very influential in teaching composition and interpretation. Schenker believes that inevitability is a key feature of a successful composer, and therefore, working in the form of a sonata must show the inevitable logic.
In the simplest example, the rhythm game must be related to the importance of the rhythm in the overall form of work. More importantly the rhythm is emphasized by pause, dynamics, defend and so on. Incorrect or deceptive rhythms are given some characteristics of a real rhythm, and then this impression is attenuated by progressing faster. For this reason, a change in performance practice leads to a change in the understanding of the relative importance of different aspects of the sonata form. In the Classical era, the importance of parts and rhythms and the underlying harmonic development gave way to emphasis on the theme. The clarity of the distinctively differentiated and major parts gives way to a more vague sense of the keys and modes. These changes result in a change in performance practice: when the parts are clear, there is little need to emphasize articulation points. When they are less clear, it is more important to be placed at various tempos during the journey of music to give "shape" to the music.
Over the last half century, the critical tradition to examine scores, signatures, annotations, and historical records has changed, sometimes subtly, sometimes dramatically, the way sonata forms are seen. This has caused a change in edited work mode; for example, the Beethoven piano phrase has undergone a shift to longer and longer phrases that are not always consistent with the rhythms and other formal markers of the underlying form parts. Comparing Schnabel recordings, from the beginning of modern recording, to those of Barenboim and then Pratt shows different changes in how the structure of the sonata form is presented to the listener over time.
For the composer, the sonata form is like a drama or film script, describing when important plot points, and the type of material to be used to link it to a coherent and orderly unity. At different times the shape of the sonata has been considered quite rigid, and at other times the freer interpretation has been considered permissible.
In the theory of sonata forms it is often said that other movements stand in relation to the sonata-allegro form, either, per Charles Rosen that they are really "sonata forms", plural - or as Edward T. Cone asserts, that sonata-allegro is ideal for other "aspiring" movement structures. This is particularly evident as the case with other forms of movement that generally occur in works regarded as sonatas. As this sign the word "sonata" is sometimes added to the name of the form, especially in the case of the form "sonata-rondo". Slow movements, in particular, look similar to sonata-allegro forms, with differences in phrases and less emphasis on development.
However, Schoenberg and other theorists who used his ideas as a departure point saw themes and variations playing a fundamental role in the construction of formal music, calling the process of continuous variation and arguing from this idea that the form of sonata-allegro is a means of structuring a continuous process of variation. School theorists include Erwin Ratz and William E. Caplin.
The subdivision of the work is sometimes analyzed as in the form of a sonata, in particular a single motion movement, such as KonzertstÃÆ'¼ck in F minor from Carl Maria von Weber.
From 1950 onwards, Hans Keller developed a 'two dimensional' analysis method that explicitly considers form and structure from the viewer's audience's expectation. In his work, sonata-allegro is a well-defined 'background form' against which various feature composers can compose their individual 'foreground'; The 'meaningful contradictions' of the background expected by the unexpected foreground are viewed as generating expressive content. In Keller's writings, this model is applied in detail to Schoenberg's 12-note works as well as the classic tonal repertoire. Recently, two other musicologists, James Hepokoski and Warren Darcy, have presented, without reference to Keller, their analysis, which they call Sonata Theory, of the sonata-allegro form and sonata cycle in terms of genre expectations, and are categorized well. sonata-allegro movement and sonata cycle by choice of compositions made to honor or depart from convention. Their study focuses on the normative periods of the sonata exercises, which are famous for the works of Haydn, Mozart, Beethoven, Schubert, and their close associates, projecting this practice forward for the development of sonata-allegro forms into the 19th century and to- 20.
Music criticism and sonata form
Due to its centrality in classical music, the form of a sonata has been an interesting topic for music critics since its origin. Controversial opinions include prominent critics such as Eduard Hanslick, who praised his form for clarity.
See also
- The closely related key
- Slow motion (music)
- Form of rondo sonatas
References
Further reading
Source of the article : Wikipedia
0 Comments