How Sonata Forms A Bottom Up Approach to Musical Form 1st edition by Yoel Greenberg 0197526306 9780197526309

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ISBN-10 :  0197526306 

ISBN-13 : 9780197526309

Author : Yoel Greenberg 

Traditional approaches to musical form have always adopted a top-down perspective whereby a work’s form organizes and unifies the individual parts of the work through an overarching logic. How Sonata Forms turns this view on its head, proposing instead that it was the parts that conditioned and enabled the whole. Relying on a corpus of over a thousand works, author Yoel Greenberg illustrates how the elements of sonata form arose independently of one another, with an overarching idea of form only emerging at the tail end of its formative period during the eighteenth century. Appreciation of the bottom-up nature of sonata form’s evolution reveals it not as a stable package of features that all serve a common aesthetic or formal goal, but rather as an unstable collection of disparate and sometimes even contradictory common practices. The resolution of these contradictions presents a challenge to composers, rendering form a creative catalyst in itself, rather than as a compositional convenience. More generally, the deeply diachronic perspective of How Sonata Forms offers an alternative to the traditional synchronic outlook that pervades music theory in general and the study of form in particular. Rather than focus on definitions and taxonomies, How Sonata Forms proposes a focus on the motion of the system of form as a whole, suggesting that it is often more productive to appreciate the dynamics of a system than it is to rigorously define its parts.

How Sonata Forms-A Bottom-Up Approach to Musical Form 1st Table of contents:

1. The Fuzziness of Form
Synchronic Fuzziness
The Replacement Strategy
The Refinement Strategy
The Relaxation Strategy
Diachronic Fuzziness
In Lieu of a Definition
2. Wholes in the Theory
Between Synchrony and Diachrony
Synchrony and Diachrony in Musical Form
The Synchronic Nature of Formenlehre
On the Incompatibility of the Three Strategies with Diachrony
Rethinking the Whole
Holistic Diachrony
3. From Selfish Sonatas to Egoistic Elements
On Reductionism
An Abstract Model
Independence
Summary
4. A Periodic Table of Elements
The Medial Repeat
Modified Medial Repeats
The Double Return
The End Rhyme
Interim Summary
Independence of the Elements
Defining Independence
Summary
5. On Positive Interaction and the Emergence of the Recapitulation
The Binary Rotation
The Recapitulatory Rotation
Trans-Action
6. Rival Repeats: On Negative Interaction and Form in Flux
Wilhelm Friedemann Bach and the “Condensed Recapitulation”
Unobtrusive Double Returns
Carl Philipp Emanuel Bach and the Triple Rotation
The “Synthesizing Recapitulation”
The “False Recapitulation”
Summary
7. Converging Forms
Sonata Forms?
On Convergence
Ritornello Form versus the Classical Concerto
From Texture to Thematicism
Midway Models, from Quantz and Riepel to Koch and Galeazzi
Conditions for Convergence
Expansion of Concerto Form
Shifting of Agency
Telltale Differences: The Tutti Medial Repeat
Summary
8. Beyond Sonata Form
A Bird’s-Eye View
Fuzzy Transitions

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