Sonata Forms¶
Rosen, C. (1980). Sonata Forms. W. W. Norton.
Cited by¶
4 citations across 4 artifacts.
Each citation links to the sentence it supports in the citing article.
Domain-specific¶
- Development Section
- Sonata form, the dominant large-scale formal structure in Western art music from the mid-eighteenth century through the early twentieth
This sourceRosen's survey calling sonata form the supreme form of instrumental music and tracing its prestige into the twentieth century.
Supported in partVerified against a saved copy of the source
“form helped to establish its nineteenth- and {{{twentieth}}}-century prestige as the supreme form of instrumental”
- Sonata form, the dominant large-scale formal structure in Western art music from the mid-eighteenth century through the early twentieth
- Modulation
- In sonata form, the modulation to the dominant in the exposition is the single most structurally significant harmonic move in the classical canon: it introduces the second theme in a foreign key and thereby opens the tonal conflict that the recapitulation's return to tonic will resolve
This sourceRosen's argument that the exposition's dramatized arrival at the dominant installs the second group in a foreign key and creates the polarity the recapitulation resolves; the superlative ranking is the article's, and the generalisation holds for major-key expositions - minor-key ones move to the relative major.
Supported in partVerified against the source
- In sonata form, the modulation to the dominant in the exposition is the single most structurally significant harmonic move in the classical canon: it introduces the second theme in a foreign key and thereby opens the tonal conflict that the recapitulation's return to tonic will resolve
- Musical Form
- The paradigm case is sonata form, and the paradigm sonata-form movement is the first movement of Beethoven's Symphony No. 5 in C minor (1808)
This sourceThe standard study of sonata forms, which treats sonata form through Beethoven's Fifth Symphony and analyses its development section.
Supported in partVerified against the work's full text
“indispensable myth, the supremacy of [Beethoven]. This is why [sonata form] as it is generally known”
- The paradigm case is sonata form, and the paradigm sonata-form movement is the first movement of Beethoven's Symphony No. 5 in C minor (1808)
- Tonality
- A Mozart piano-sonata movement in C major, for instance, opens in the tonic, then modulates — typically via a pivot chord functional in both keys — to the dominant key (G major) for its second theme, establishing large-scale tension by leaving home
This sourceThe exposition's second group stated at the dominant key, and the tonic-to-dominant key plan of sonata form. The recapitulation's return to the tonic after the development, closing the tonic-to-dominant-to-tonic key plan of sonata form.
Supported in partVerified against the work's full text
“J. C. Bach's [Piano] [Sonata] in D major, op. V no. 2, as a concerto, [Mozart] articulated the”
- A Mozart piano-sonata movement in C major, for instance, opens in the tonic, then modulates — typically via a pivot chord functional in both keys — to the dominant key (G major) for its second theme, establishing large-scale tension by leaving home
Verification¶
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