Date of Award

2009

Type

Thesis

Major

Music Performance - Instrumental Concentration

Degree Type

Bachelor of Music in Performance

Department

Schwob School of Music

Abstract

The Classical Sonata Form is not to be thought of in terms of the formal sections it can be broken into. Unlike other musical forms, the Sonata Form has less to do with its formal architecture and more to do with the linear progression and development of themes. Composers in this style did not approach the form in terms of the three sections it contains, though they did maintain these groups. There first needed to be an exposition where two contrasting themes, or keys, are presented. Next, there was a development where themes are broken down and several key areas are explored. The form concluded with a recapitulation, where the second theme is transposed to the first key area. While these sections are apparent, the Classical composers viewed the exposition, development, and recapitulation not in terms of their parts, but as a vehicle to propel their linear ideas1.

This analytical approach helps explain how Haydn's monothematic Sonata style can be effective, a feat that eludes standard sectional analysis. The sectional approach generally focuses on reaching thematic concordance of key. Since Haydn's Sonatas generally do not have two themes, it is difficult to explain why he would use any formal structure at all to reach this concordance. The transposition of the first theme in the exposition to create the second theme does not create the drama associated with the sectional approach. This lack of conflict diminishes the importance of resolution that the sectional approach requires. Haydn's music is not based on the destination, and therefore is not explained by its progressing sections; instead, it can only be appreciated in terms of the journey, usually emphasizing motivic permutations and harmonic progressions.

Comments

Honors Thesis

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