Vol. 31, No. 1 (2010)
Publication date: 2012-06-07
Number of articles: 18
An Introduction from the English Editor - PDF through Erudit
A Note from the Editors - PDF through Erudit
Clementi’s “Progressive Sonatinas,” Op. 36: Sonata semplice or Mediating Genre between Minuet and Sonata Design? - PDF through Erudit
In this article, I apply William E. Caplin’s theoretical model of formal functions as the modus operandi to study variations to the sonatina genre. In particular, I use Clementi’s op. 36 cycle of six “Progressive” sonatinas to illustrate some of the compositional options available along the evolutionary pathway between a single-themed minuet exposition and that of a mature sonata exposition. Despite the sonatina’s relatively smaller dimension, the variety of loosening features and use of interthematic fusion reveal that the genre is a more captivating topic of study than may have been generally appreciated.
Closure in Classical Themes: The Role of Melody and Texture in Cadences, Closural Function, and the Separated Cadence - PDF through Erudit
This article challenges two of William E. Caplin’s basic precepts regarding cadences in the classical style. First, the author argues that melody and texture contribute to the onset of cadential function. Second, he contends that themes may end not only with a half or authentic cadence, but also with a “closural function”, which substitutes for cadential function through a “cadence-like progression”. Moreover, he discusses how a theme may end with a cadence such that its melody and bass resolve at different times, a phenomenon he calls the separated cadence.
Two-Part Transition or Two-Part Subordinate Theme? - PDF through Erudit
In William Caplin’s Classical Form (1998), the ending of a sonata-form exposition’s two-part transition and a two-part subordinate theme’s internal cadence share the same harmonic goal: the new key’s dominant. In this article, the author contends that the choice between the two is not as clear-cut as Caplin suggests, arguing that the functional role of these passages should be read within the context of the entire sonata movement, rather than on more localized analytical interpretations of the sonata’s sections taken in isolation. Two works are discussed: the first movement of Beethoven’s Piano Sonata op. 2, no. 3, and the first movement of the Piano Sonata op. 10, no. 2.
In Memoriam Carl Wiens - PDF through Erudit
William Caplin Responds - PDF through Erudit
Formal Mixture in the Sonata-Form Movements of Middle- and Late-Period Beethoven - PDF through Erudit
Modal mixture is defined as a local colouration of a diatonic progression by borrowing tones or chords from the parallel major or minor tonality. In his efforts to expand tonal resources, Beethoven took this technique further: he borrowed large-scale tonal processes from a composition’s parallel tonality, a technique that I term formal mixture. After tracing its origin to certain works by J. S. Bach, C. P. E Bach, Domenico Scarlatti, and Joseph Haydn, I demonstrate how Beethoven built upon his predecessors’ use of the technique throughout his career, thereby expanding and diversifying the tonal resources of late classical era sonata forms.
Poésie et musique : L’Horizon chimérique, de Jean de la Ville de Mirmont à Gabriel Fauré - PDF through Erudit
In this article, the author follows the genesis of Fauré’s L’Horizon chimérique from the first encounter between musician and poet to the completion of the musical setting and finally to problems of performance. He pays particular attention to the formal characteristics of a poem (prosody, rhythm, metrics) and tries to show their importance all the way to the smallest details of the musical setting.
Jean Molino et les histoires de la musique : de nouveaux modèles pour les réécritures de l’histoire - PDF through Erudit
Le singe musicien (2009) brings together selected published and unpublished texts written by Jean Molino between 1984 and 2005. Known for his theory of tripartition, Molino proposes a new basis for the understanding of the sociology, history, and anthropology of music. The wide-ranging nature of his thinking requires synthesizing his ideas, which constitute true programmatic foundations. This is the task we propose to accomplish in this study: to summarize the author’s thoughts on the development of historical discourse from a few selected texts.