Results 161 to 170 of about 4,102 (225)
Progressive Loss of Sensitivity to Electrical Stimulation After Cochlear Implantation in X-Linked Incomplete Partition Type III Deafness. [PDF]
Ear HearEklöf M, Smeds H, Karltorp E, Wales J.
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2006
AbstractCentrally important to Haydn's concept of the genre, sonata form's polarities, fluctuating energies, and tensional relationships between themes and sections offered countless opportunities for instrumental expression and design. Aspects explored in this chapter include the distinction between continuous expositions dominated by transitional ...
Floyd Grave, Margaret Grave
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AbstractCentrally important to Haydn's concept of the genre, sonata form's polarities, fluctuating energies, and tensional relationships between themes and sections offered countless opportunities for instrumental expression and design. Aspects explored in this chapter include the distinction between continuous expositions dominated by transitional ...
Floyd Grave, Margaret Grave
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2022
AbstractHow Sonata Forms presents the case for a bottom-up view of musical form, particularly sonata form. Instead of the traditional, holistic view, which views form as a whole that conditions its parts, How Sonata Forms asks whether we can assume less: could form have arisen on its own, through the chance meeting of elements?
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AbstractHow Sonata Forms presents the case for a bottom-up view of musical form, particularly sonata form. Instead of the traditional, holistic view, which views form as a whole that conditions its parts, How Sonata Forms asks whether we can assume less: could form have arisen on its own, through the chance meeting of elements?
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2022
AbstractChapter 8 takes a step back from the detailed corpus studies and analyses of the preceding chapters to consider the applicability of the system-oriented approach of the whole book to other forms, such as the rondo, fugue, and theme and variations, and to fields beyond the study of music such as literary theory.
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AbstractChapter 8 takes a step back from the detailed corpus studies and analyses of the preceding chapters to consider the applicability of the system-oriented approach of the whole book to other forms, such as the rondo, fugue, and theme and variations, and to fields beyond the study of music such as literary theory.
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1998
Abstract Sonata form is the most important large-scale formal type in instrumental music of the classical period. Almost every multimovement work (except the concerto) contains at least one movement written in this form. But sonata form is important not only because of its frequency of use: many historians and theorists consider it to
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Abstract Sonata form is the most important large-scale formal type in instrumental music of the classical period. Almost every multimovement work (except the concerto) contains at least one movement written in this form. But sonata form is important not only because of its frequency of use: many historians and theorists consider it to
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2020
Abstract This chapter re-examines the opening movement of Felix Mendelssohn’s String Quartet in E minor, Op. 44 No. 2 (1837), a movement that formed the focus of a pioneering article by Friedhelm Krummacher from 1972, which sought to establish a series of theses concerning Mendelssohn’s sonata practice.
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Abstract This chapter re-examines the opening movement of Felix Mendelssohn’s String Quartet in E minor, Op. 44 No. 2 (1837), a movement that formed the focus of a pioneering article by Friedhelm Krummacher from 1972, which sought to establish a series of theses concerning Mendelssohn’s sonata practice.
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Organic Structure in Sonata Form
Journal of Music Theory, 1968To effect an agreement between general concepts and specific details is one of the most difficult tasks of human understanding. In order to reduce the world of appearances to only a few concepts, knowledge must seek general truths. At the same time, one must examine the particulars to the last detail, in all their secrets, if one wishes to grasp ...
Heinrich Schenker, Orin Grossman
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2020
Chapter 3 studies in detail the first movements of Brahms’s three violin sonatas. Each first movement is cast in sonata form—the most exalted structure of the Classical Era. But Brahms did not fill a “sonata-form mold” with formulaic music. Just like his great predecessors whose music he so dearly loved and esteemed, Brahms adapted the outer aspects of
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Chapter 3 studies in detail the first movements of Brahms’s three violin sonatas. Each first movement is cast in sonata form—the most exalted structure of the Classical Era. But Brahms did not fill a “sonata-form mold” with formulaic music. Just like his great predecessors whose music he so dearly loved and esteemed, Brahms adapted the outer aspects of
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