The “expanded cadential progression”: A category for the analysis of classical form†

Caplin, William E.

doi:10.1080/01411898708574585

Cited by 33 publications

(29 citation statements)

References 3 publications

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Section: 'Fundamental Axioms'mentioning

confidence: 99%

“…Additionally, 'the tonal conflict of home and subordinate keys -so often dramatized in sonata form -tends to be tempered in rondo forms'. 58 Indeed, establishment of the subordinate key is often quite weak and subordinate themes in rondos are often relatively compressed and simple in comparison with those in sonata movements, frequently dispensing with a closing perfect authentic cadence (particularly in Beethoven). Moreover, the retransition leading back to the second refrain is 'more elaborate than that at the end of a sonata exposition' and 'unlike a regular sonata, the coda is a required element of sonata-rondo, because that section includes the final return of the main theme'.…”

Section: Sonata Categoriesmentioning

confidence: 99%

“…Moreover, the retransition leading back to the second refrain is 'more elaborate than that at the end of a sonata exposition' and 'unlike a regular sonata, the coda is a required element of sonata-rondo, because that section includes the final return of the main theme'. 59 He further notes that fragmentary 'wrongkey' returns of the refrain are more common in rondos than are non-tonic recapitulations in sonata-form movements: since 'a rondo places its dramatic emphasis on the return of the refrain, an initial appearance in the "wrong" key, corrected shortly thereafter in the right key, is a particularly effective device'. 60 Caplin elaborates on some of these points with reference to the Finale of Beethoven's Piano Sonata, Op.…”

Section: Sonata Categoriesmentioning

confidence: 99%

“…B. Marx to apply his general RuheBewegung-Ruhe model to sonata form, assigning the Bewegung function to the development; 25 Caplin too describes the development as 'a higher-level analogue to the contrasting middle section in a small ternary form'. 26 In short, the propositions that in developments thematic order takes precedence and that 'nonrotational events' are apprehended as 'writing over a more normatively rotational option' are entirely contentious.A further problem is that the analytical gymnastics required to preserve rotational rectitude often result in readings of specific pieces that are convoluted to the point of being counter-intuitive. An obvious case in point is the first movement of Mozart's much-analysed Piano Sonata in D, K. 311 (1777).…”

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confidence: 99%

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Beyond‘Norms and Deformations’: Towards a Theory of Sonata Form as Reception History

Wingfield

2008

Music Analysis

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Article B eyond N orms and D eformations paul wingfield paul wingfield B eyond 'N orms and D eformations ': T owards a T heory of S onata F orm as R eception H istory PreliminariesAlthough published as recently as 2006, James Hepokoski's and Warren Darcy's much heralded and substantially delayed Elements of Sonata Theory has been a significant presence in the field of music theory and analysis for over a decade.1 Indeed, one reads this monumental work with an unavoidable sense of déjà-lu . Draft copies were frequently quoted in conference papers and articles for several years prior to publication. Also, many of the book's key precepts are aired by both authors in a variety of publications dating from 1992 onwards dealing with works by Beethoven, Bruckner, Sibelius and Richard Strauss amongst others, as well as historical issues such as the reception of Beethoven's symphonies and theoretical concepts including the so-called 'sonata principle', 'rotation', 'deformation' and the 'medial caesura'.2 Given the intense level of advance exposure for the authors' ideas and the wealth of insightful precursor texts about sonata form in the High Classical Era, it is not self-evident that there is actually a gap in the existing literature for Elements of Sonata Theory to fill, all the more so since the book was pre-empted by its main market competitor, William Caplin's commanding and elegantly concise Classical Form .3 Nevertheless, closer inspection reveals that the publication of Elements of Sonata Theory is justified at least by its encyclopaedic aspect, by the incorporation of just enough new material (the concluding three chapters on Mozart's concertos in particular) and by the elaboration and refinement of some fundamental premises.Chapters 1 to 4 situate Sonata Theory within the field and introduce its core precepts. Hepokoski and Darcy broadly identify three main strands in existing thought about sonata form: the 'sonata principle' elaborated first by Edward Cone and then by Charles Rosen, which stresses the notion that sonata movements dramatise fundamental properties of the Classical Style, especially polarisation and resolution, and which thus requires that non-tonic material in the secondary and closing areas of the exposition be recapitulated in the tonic or else 'brought into a closer relation' with it (p. Bonds labels the 'generative view', first expounded in detail by Schoenberg, which regards sonata forms as products of material process. 4 In contrast, Sonata Theory claims to transcend all these viewpoints, positing that classical composers are in 'dialogue' with a constellation of 'generic defaults', which are hierarchically organised according to frequency of usage. When classical composers override 'standard options', they 'deform' generic conventions. Naturally, the 'genre sonata form' is subject to 'diachronic transformation', with the result that constellations of norms undergo incremental change: a deformation in, for example, Beethoven can 'become a lower-level default in Schumann, Liszt or Wagner' (...

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Section: 'Fundamental Axioms'mentioning

confidence: 99%

Section: Sonata Categoriesmentioning

confidence: 99%

Section: Sonata Categoriesmentioning

confidence: 99%

mentioning

confidence: 99%

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Beyond‘Norms and Deformations’: Towards a Theory of Sonata Form as Reception History

Wingfield

2008

Music Analysis

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“…the role of melody and texture in cadences William Caplin (1998;2004) has recently defined the cadence according to two essential parameters: location within a phrase and harmonic progression. As for its location, a cadence must form an ending "to something."…”

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confidence: 99%

Closure in Classical Themes: The Role of Melody and Texture in Cadences, Closural Function, and the Separated Cadence

Richards¹

2012

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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.Cet article remet en question deux des postulats de base William E. Caplin concernant les cadences dans le style classique. Tout d’abord, l’auteur fait valoir que la mélodie et la texture aident à délimiter la fonction cadentielle. Il soutient ensuite que tant la demi-cadence que la cadence authentique peuvent marquer la fin d’un thème, tout comme peut le faire une « fonction conclusive », qui se substitue à la fonction cadentielle par une « progression quasi cadentielle ». En outre, il explique comment une cadence peut conclure un thème de telle sorte que sa mélodie et sa basse se résolvent à différents moments, un phénomène qu’il appelle la cadence séparée

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Harmony in Haydn and Mozart

Damschroder

2012

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Integrating Schenkerian tools and an innovative approach to harmony, David Damschroder provides numerous penetrating analyses of works by Haydn and Mozart. A series of introductory chapters assist readers in developing their analytical capacity. Beginning with short excerpts from string quartets, the study proceeds by assessing the inner workings of twelve expositions from Haydn piano sonatas, six arias in G minor from Mozart operas, and three rondos in D major from piano concertos by Haydn and Mozart. In the Masterworks section that follows, Damschroder presents detailed analyses of six movements from symphonies, string quartets and opera by Haydn and Mozart, and compares his outcomes with those of other analysts, including Kofi Agawu, Robert O. Gjerdingen, James Hepokoski and Warren Darcy, Carl Schachter and James Webster. The book represents an important contribution to modern analytical discourse on a treasured body of music and an assessment of recent accomplishments within that realm.

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The “expanded cadential progression”: A category for the analysis of classical form†

Cited by 33 publications

References 3 publications

Beyond‘Norms and Deformations’: Towards a Theory of Sonata Form as Reception History

Beyond‘Norms and Deformations’: Towards a Theory of Sonata Form as Reception History

Closure in Classical Themes: The Role of Melody and Texture in Cadences, Closural Function, and the Separated Cadence

Harmony in Haydn and Mozart

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