1 Appendix A. Generic layouts, Rondo and Sonata

Transcription

Graham G. Hunt (University of Texas at Arlington): “Formal Loosening and Diverging A Sections: A Formal-Function-Based
Approach to Rondo Finales with Incomplete Second Refrains.” Society for Music Theory, Annual Meeting, October 30, 2015, St.
Louis, Missouri.
Appendix A. Generic layouts, Rondo and Sonata-Rondo forms
Or D
1
Louis, Missouri.
Appendix B1. Movements with incomplete second refrains (lacking a PAC in the home key), organized by refrain's
overall theme-type (per Caplin’s typology; fonts indicate movement’s overall form)
Bold: Sonata-rondo forms (Type 4 in Sonata Theory); bold/italics: Expanded binary rondos (Type 41-exp in Sonata Theory)
No Bold: Straight Rondos; (-rondo): Sonata-Rondo Converting to Rondo by omitting secondary theme in “recap”
Appendix B2. Movements with incomplete second refrains, organized by the theme type of the diverging portion of the
refrain
2
Louis, Missouri.
Appendix C. Incomplete 2nd-refrain pieces, sorted by divergence location (instant/internal) and technique
*5 – refrain, or portion thereof, becomes part of a descending-5th sequence, referencing opening of Type 3 sonata development
3
Louis, Missouri.
Appendix D. Reference, Formal-Function Terms/definitions (From Caplin 1998)
(in order referred to in the paper)
Abridged refrain:
In rondo form, a restatement of the refrain that consists of A or A’ of the original small ternary,
and reaches home-key authentic cadence
Incomplete refrain: In rondo form, a restatemtn of a refrain that lacks a home-key authentic cadence
Period theme:
Simple (8-measure) theme consisting of an antecedent phrase and consequent phrase
Sentence theme:
Simple (8-measure) theme consisting of a presentation phrase and a continuation (and/or
cadential) phrase
Hybrid 1 theme:
Simple (8-measure) theme combining functions associated with both sentence and period,
Antecedent phrase + continuation phrase
Hybrid 3 theme:
Simple (8-measure) theme combining functions associated with both sentence and period,
Contrasting basic idea phrase + continuation phrase
Compound theme:
16-measure theme, a complex version of the simple theme-types
Compound period: antecedent (presentation+Continuation) + consequent (pres+contin)
Compound sentence: presentation (c.b.i.+c.b.i.) + continuation
Small Ternary theme: 3-part theme: Exposition (A), contrasting middle (B), recapitulation (A’)
Presentation
The first phrase of a sentence; consists of a unit (b.i.) and its repetition, supported by a
prolongation of tonic harmony
Continuation
The second phrase of a sentence – fuses continuation (destabilizing formal function) and
cadential (concluding formal function; provides requisite conditions for thematic closure, and is
supported by cadential progression(s)
Antecedent
First phrase of a period – basic idea (b.i.) followed by contrasting idea (c.i.), then weak cadence
Consequent
Second phrase of a period – repeats prior antecedent but concludes with an authentic cadence.
Often replaces contrasting idea (c.i.) with purely cadential idea (cad.).
ECP
Expanded Cadential Progression: An expansion of the cadential progression to the extent of
Supporting a complete phrase (at least four measures)
Abandoned Cadence Failure to realize an implied authentic cadence by eliminating the cadential dominant in root
position, or by inverting that harmony before its resolution
Deceptive Cadence
Failure to realize an implied authentic cadence by replacing the final tonic with another harmony,
which nonetheless represents the end of the prevailing cadential progression
“one more time”
Following an evaded [or deceptive] cadence, the repetition of the previous cadential idea or
phrase
4
Louis, Missouri.
Bibliography (Selected)
Caplin, William. 1987. "The 'Expanded Cadential Progression': A Category for the Analysis of Classical Form." Journal of
Musicological Research 215-257.
Caplin, William. 1998. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and
Beethoven. Oxford: Oxford University Press.
Fillion, Michelle. 2012. "Form, Rhetoric, and the Reception of Haydn's Rondo Finales." In Engaging Haydn: Culture,
Context, and Criticism, by Mary Hunter and Richard Will (eds.), 187-210. Cambridge: Cambridge University Press.
Galand, Joel. 1995. "Form, Genre and Style in Eighteenth-Century Rondo." 17 (1): 27-52.
Hepokoski, James and Darcy, Warren. 2006. Elements of Sonata Theory: Norms, Types, and Deformations in the Late
Eighteenth-Century Sonata. New York: Oxford University Press.
Huguet, Joan Campbell. 2015. Formal Functions and Voice-Leading Structures in Beethoven's Early Sonata-Rondo Finales
(Ph.D. Dissertation). Rochester, NY: Eastman School of Music.
Hunt, Graham. 2014. "'How Much is Enough?': Structural and Formal Ramifications of the Abbreviated Second A Section
in Rondo Finales from Haydn to Brahms." Journal for Schenkerian Studies 8: 1-51.
5
Formal Loosening and Diverging A Sections: A Formal-Function
Based Approach to Rondo Finales with Incomplete Second Refrains
Society for Music Theory, Annual Meeting
St. Louis, Missouri
October 30, 2015
Graham G. Hunt
University of Texas at Arlington
[email protected]
[Appendix A.] Generic layouts, Rondo and Sonata-Rondo forms
Or D
Example 1a. Movements with incomplete second refrains (lacking a PAC in the home key), organized by refrain's overall theme-type
(per Caplin’s typology; fonts indicate movement’s overall form)
Bold: Sonata-rondo forms (Type 4 in Sonata Theory); bold/italics: Expanded binary rondos (Type 41-exp in Sonata Theory)
No Bold: Straight Rondos; (-rondo): Sonata-Rondo Converting to Rondo by omitting secondary theme in “recap”
Example 1b. Movements with incomplete second refrains, organized by the theme type of the diverging portion of the refrain
Example 2. Incomplete 2nd-refrain pieces, sorted by divergence location (instant/internal) and technique
Example 3a. Illustration of “instant” divergence locations in sample theme types
Sentence theme
Continuation
phrase
Presentation phrase
b.i.
b.i.
* (post-cadential)
*Cad
Hybrid 3 theme type
c.b.i
Presentation (c.b.i.)
b.i.
c.i.
Continuation
Contin
contin
* (post-cadential)
*Cad
16-measure period
Antecedent (internal sentence)
b.i.
b.i.
Consequent (internal sentence)
contin
b.i.
b.i.
contin
HC
PAC
Small ternary (ABA';
sample)
A (period)
Antecedent
b.i.
c.i.
HC
b.i.
A (period)
B
Consequent
ci/cad
PAC
post-cadential Antecedent
b.i.
model-seq standing-V
HC
b.i.
Consequent
c.i.
b.i.
HC
ci/cad
PAC
Example 3b. Illustration of “internal” divergence locations in sample theme types
Sentence theme
Continuation
phrase
Presentation phrase
b.i.
b.i.
* (post-cadential)
*Cad
Hybrid 3 theme type
c.b.i
Presentation (c.b.i.)
b.i.
c.i.
Continuation
Contin
contin
* (post-cadential)
*Cad
16-measure period
b.i.
b.i.
contin
b.i.
b.i.
contin
HC
PAC
Small ternary (ABA';
sample)
A (period)
Antecedent
b.i.
c.i.
HC
b.i.
A (period)
B
Consequent
ci/cad
PAC
post-cadential Antecedent
b.i.
model-seq standing-V
HC
b.i.
Consequent
c.i.
b.i.
HC
ci/cad
PAC
Example 4. Illustrations of specific divergence techniques
“Lights out” minor tonic (Haydn: Cello Concerto Hob. VIIb:2, iii)
2nd refrain
(incomplete)
A section (of small ternary:) antecedent with modal
repeat
b.i.
2
m. 103
b.i. (resp) contin
2
4
Antecedent=>pre-core
b.i.
b.i.
contin
refrain ends;
minor i!
C section (interior theme) follows
HC (d:)
HC
(no PAC)
(HC)
(end of antecedent)
i
(d: HC) follows
“Ib7” or V7/IV (Haydn: String Quartet op. 64/6 iv)
2nd refrain
(incomplete)
A section (of small ternary:) antecedent +
compressed, modulating consequent
Antecedent (internal Hybrid 3)
b.i.
2
Eb:
m. 83
c.i.
2
contin
4
Consequent (H3)=> pre-core
b.i.
Ib7!
HC m. 91
-> f:
c.i.
contin
compr.
f: HC
(no PAC)
refrain ends;
C section (core) follows
Fragmentation / sequencing (Mozart: Piano Concerto K. 450 iii)
Mozart 450 iii
2nd refrain
(incomplete)
16-measure period: antecedent + compressed,
modulating conseq
Bb:
b.i.
2
m. 113
b.i. (seq) contin
2
4
Consequent (H3)=> pre-core
bi=>mod
seq
sequence fragm.
HC m. 121
-> g:
refrain ends;
C section (core) follows
g: HC
(no PAC)
Example 5. Haydn: Symphony 97 iv: Opening refrain
A section (of small ternary:) 16-measure period
b.i.
2
C:
m. 1
b.i. (resp) contin
2
4
Consequent (internal
sentence)
b.i.
2
HC m. 9
b.i.
2
contin
4
V:PAC (=>HC)
Haydn: Symphony 97 iv, 2nd (incomplete) refrain
2nd refrain: dissolving [compound] consequent
Example 6. Brahms, Symphony #2 iv
Example 7. Mendelssohn, Scherzo op. 81 #2: Opening refrain
Example 7. Mendelssohn, Scherzo op. 81 #2 – 2nd (incomplete) refrain
A
E
D
Loosening “chain”
Antecedent: [ornamental changes]; Consequent: c.i. eliminated [74]: Ib7 (74) – Sequence/fragmentation (74-77) –
fragmentation (77) – modulation to d (78) – no PAC in a minor
Example 8. Haydn, Trumpet Concerto, Hob. VIIe: 1, iii: Opening refrain
Loosening elements
Extension of presentation phrase: contrasting idea looped twice; compressed continuation, assymetrical grouping structure:
8-measure presentation+3-measure continuation; post-antecedent standing on the dominant (rare in periods;
per Caplin 2013, 135)
Example 8. Haydn, Trumpet Concerto, Hob. VIIe: 1, iii: Second (Incomplete) refrain
Loosening chain (in addition to loosening devices in place in original: Ornamental changes: flute in m. 128, full orchestra
Forte entrance (m. 138); brief “Ib7” (m. 142)sequence + modulation (m. 143); sequence (m. 150),
lack of PAC in home key
Incomplete 2nd-refrain pieces, internal divergences only
Example 9. Beethoven, Symphony 8, iv, 1st and 2nd refrains (compound antecedent only)
Loosening chain: Expanded continuation (from original refrain) – extended expansion (m. 105) – sequence of
continuation’s opening (m. 109) – extension of continuation phrase – no cadence
Example 10. Strauss, String Quartet op. 22, iv, 1st and 2nd refrains (compound antecedent only)
Loosening EVENT: Compressed continuation, abandoned cadence, modulation (to F), beginning of
model/sequence
Example 11. Incomplete refrains diverging just before, during, or after the cadence
Just before cadence [during cadential function]:
Haydn: Symphony #93 iv
Tchaikovsky: Violin Concerto op. 35 iii
At cadence / overwrite
Haydn: String Quartet op. 71 #2 iv
Beethoven: Piano Sonata Op. 10 #3 iv
After the cadence [post-cadential]:
Brahms: Piano Trio op. 87 iv
Brahms: String Quintet op. 111 iv
Example 12. Beethoven, Piano Sonata op. 10 #3 iv (2nd refrain)
Example 13a. Brahms, Piano Trio op. 87 iv
Example 13b. Brahms, String Quintet op. 111 iv (2nd refrain), end of A section
[Example 2]. Incomplete 2nd-refrain pieces, sorted by divergence location (instant/internal) and technique
Refrain 2
A
[trans?]
Couplet 2
C
Refrain 2 => Pre-core Transition; Couplet 2
A
C
Main Theme => Transition; Subord. Theme
[“P”]
[“TR”] [“S”]

1 Appendix A. Generic layouts, Rondo and Sonata

Transcription

Similar documents