Elements of Sonata Theory¶
Hepokoski, & Darcy. (2006). Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata.
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2 citations across 2 artifacts.
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Domain-specific¶
- Development Section
- The exposition introduces the primary thematic material in the tonic key and a contrasting theme in a related key (typically the dominant for major-mode movements)
This sourceSonata Theory's account of the exposition as a tonic part followed by a dominant part (mediant in most minor-key movements), with the secondary material in the non-tonic key.
SupportedVerified against a saved copy of the source
“into two parts, {{{tonic}}} and {{{dominant}}} (or {{{tonic}}} and mediant in most minor-key sonatas)”
- The exposition introduces the primary thematic material in the tonic key and a contrasting theme in a related key (typically the dominant for major-mode movements)
- Sonata Form
- Sonata form is the large-scale compositional structure that organises a movement — typically the opening movement of a Classical-era sonata, symphony, or string quartet — as three sections whose function is defined by their tonal relationship to the home key: an exposition presenting two thematically contrasting groups in two key areas (the first in the tonic, the second in the dominant or, in minor keys, the relative major)
This sourceHepokoski and Darcy's Sonata Theory, which treats the exposition's tonic and dominant key areas through the medial-caesura and dominant-arrival effect. Hepokoski and Darcy's Sonata Theory, which discusses the entry into a second key area (B-flat major) and chromatic features. Hepokoski and Darcy's account of the recapitulation as a rebeginning that restates and completes the fundamental structure.
Supported in partVerified against the work's full text
“ca- dence (HC) or [dominant] arrival, in either the tonic key (I: HC) or the [dominant] key (V:HC). As will”
- Sonata form is the large-scale compositional structure that organises a movement — typically the opening movement of a Classical-era sonata, symphony, or string quartet — as three sections whose function is defined by their tonal relationship to the home key: an exposition presenting two thematically contrasting groups in two key areas (the first in the tonic, the second in the dominant or, in minor keys, the relative major)
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