Recapitulation Recomposition in the Sonata‐Form First Movements of Haydn's String Quartets: Style Change and Compositional Technique

Larson, S. B.

doi:10.1111/j.0262-5245.2003.00178.x

Cited by 26 publications

(3 citation statements)

References 3 publications

(3 reference statements)

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“…Nowadays, sonata forms are still taught in music analysis, music history and composition lectures. They are also the focus of recent academic studies (Ratner, 1980;Rosen, 1980;Hepokoski and Darcy, 1997;Caplin, 1998Caplin, , 2001Hepokoski, 2002;Larson, 2003;Miyake, 2004;Hepokoski and Darcy, 2006;Gjerdingen, 2007;Greenberg, 2017). The past decades have seen a revival of the Formenlehre tradition in the classical era (Caplin et al, 2009).…”

Section: Sonata Formmentioning

confidence: 99%

Learning Sonata Form Structure on Mozart’s String Quartets

Allegraud¹,

Bigo²,

Feisthauer³

et al. 2019

Transactions of the International Society for Music Information Retrieval

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The musical analysis of large-scale structures, such as the classical sonata form, requires to integrate multiple analyses of local musical events into a global coherent analysis. Modelling large-scale structures is still a challenging task for the research community. It includes building large and accurate annotated corpora, as well as developing practical and efficient tools in order to visualize the analyses of these corpora. It finally requires the conception of effective and properly evaluated MIR algorithms. We propose a machine learning approach for the sonata form structure on 32 movements from Mozart's string quartets. We release an open dataset, encoding two reference analyses of these 32 movements, totaling more than 1800 curated annotations, as well as flexible visualizations of these analyses. We discuss the occurrence in this corpus of melodic, harmonic, and rhythmic features induced by pitches, durations, and rests. We investigate whether the presence or the absence of these features can be characteristic of the different sections forming a sonata form. We then compute the emission and transition probabilities of several Hidden Markov Models intended to match the structure of sonata forms at several resolutions. Our results confirm that the sonata form is better identified when the parameters are learned rather than manually set up. These results open perspectives on the computational analysis of musical forms by mixing human knowledge and machine learning from annotated scores.

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Section: Sonata Formmentioning

confidence: 99%

Learning Sonata Form Structure on Mozart’s String Quartets

Allegraud¹,

Bigo²,

Feisthauer³

et al. 2019

Transactions of the International Society for Music Information Retrieval

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“…17–18). On the notion of ‘false‐false recapitulation’, see Larson (2003, p. 143 on Haydn's String Quartet Op. 2 No.…”

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confidence: 99%

A Myriad of Exceptions? Challenging the Sonata‐Form Typology for the Classical Repertoire

Neuwirth¹

2021

Music Analysis

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Present‐day sonata theory scholarship increasingly draws on a typology of sonata forms that consists of five interrelated types, placing particular emphasis on the double return and thematic rotation. The present article aims at scrutinising a variety of formal phenomena in the Classical repertoire that potentially challenge, in one way or another, the established sonata‐form typology and its analytic application. This includes the early double return, strong off‐tonic cadences within the recapitulatory action space, false recapitulations as well as false‐false recapitulations, recapitulations launched with P‐based S and off‐tonic recapitulations. The article concludes with a reflection on the epistemological status of the sonata typology and discusses the notion of a modularly conceived Formenlehre.

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“…Como exemplos dessa tendência estão os trabalhos deKawamoto (2005),Larson (2003),Sharvit (1986),Trowbridge (1985Trowbridge ( /1986 e Vidili (2017).…”

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Estruturas musicais do samba-enredo

Souza¹

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This research intends to demonstrate the main transformations of the music of the samba schools of Rio de Janeiro through the transcription, cataloging and analysis of its most recurrent melodic, harmonic and formal structures. The analyzed structures include those that I considered as characteristics of samba-enredo, which are used by a large number of composers from diverse epochs and stylistic tendencies. From their detailed study, I examine the presence of formularity in the composition process of the sambistas, which may be related both to the oral model of thinking and behavior that still exists in the samba schools and to the fact that samba-enredo is embedded in a capitalist logic that ranges from the cultural industry it takes part in (disc recording, radio and TV broadcasting) to the way of choosing the works that are presented in the carnival.

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Recapitulation Recomposition in the Sonata‐Form First Movements of Haydn's String Quartets: Style Change and Compositional Technique

Cited by 26 publications

References 3 publications

Learning Sonata Form Structure on Mozart’s String Quartets

Learning Sonata Form Structure on Mozart’s String Quartets

A Myriad of Exceptions? Challenging the Sonata‐Form Typology for the Classical Repertoire

Estruturas musicais do samba-enredo

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