Book contents
- Frontmatter
- Contents
- Lists of Figures and Music examples
- Contributors
- Acknowledgements
- Introduction: Approaches to Word–Music Studies of the Long Nineteenth Century
- 1 Losing Sense, Making Music: What Erik Satie's Music and Poetry do for Each Other
- 2 Not Listening in Paris: Critical and Fictional Lapses of Attention at the Opera
- 3 New Expectations: How to Listen to Sonata Form, 1800–1860
- 4 The Science of Musical Memory: Vernon Lee and the Remembrance of Sounds Past
- 5 Musical Listening in The Mysteries of Udolpho
- 6 Katherine Mansfield and Nineteenth-Century Musicality
- 7 E.T.A. Hoffmann beyond the ‘Paradigm shift’: Music and Irony in the Novellas 1815–1819
- 8 Fiction as Musical Critique: Virginia Woolf, The Voyage Out and the Case of Wagner
- 9 Théodore de Banville and the Mysteries of Song
- 10 Performing Poetry as Music: How Composers Accept Baudelaire's Invitation to Song
- 11 The Grit in the Oyster, or How to Quarrel with a Poet
- Afterword: Wording Notes: Musical Marginalia in the Guise of an Afterword
- Bibliography
- Index
3 - New Expectations: How to Listen to Sonata Form, 1800–1860
Published online by Cambridge University Press: 05 September 2013
- Frontmatter
- Contents
- Lists of Figures and Music examples
- Contributors
- Acknowledgements
- Introduction: Approaches to Word–Music Studies of the Long Nineteenth Century
- 1 Losing Sense, Making Music: What Erik Satie's Music and Poetry do for Each Other
- 2 Not Listening in Paris: Critical and Fictional Lapses of Attention at the Opera
- 3 New Expectations: How to Listen to Sonata Form, 1800–1860
- 4 The Science of Musical Memory: Vernon Lee and the Remembrance of Sounds Past
- 5 Musical Listening in The Mysteries of Udolpho
- 6 Katherine Mansfield and Nineteenth-Century Musicality
- 7 E.T.A. Hoffmann beyond the ‘Paradigm shift’: Music and Irony in the Novellas 1815–1819
- 8 Fiction as Musical Critique: Virginia Woolf, The Voyage Out and the Case of Wagner
- 9 Théodore de Banville and the Mysteries of Song
- 10 Performing Poetry as Music: How Composers Accept Baudelaire's Invitation to Song
- 11 The Grit in the Oyster, or How to Quarrel with a Poet
- Afterword: Wording Notes: Musical Marginalia in the Guise of an Afterword
- Bibliography
- Index
Summary
Music scholarship, whether historical or analytical, has tended to neglect sonata-form compositions after the deaths of Beethoven and Schubert in 1827 and 1828, respectively, particularly with regard to single-instrument compositions. A conventional, if perfunctory, definition – and one whose validity in the later nineteenth century this essay reappraises – typecasts sonata form as a musical structure in which two (or more) themes in contrasting keys are presented and developed, before being restated in the same key to bring closure to the movement. It is the formal design used in a majority of the first movements of solo sonatas, string quartets, symphonies and overtures in the eighteenth and nineteenth centuries. Scholarly neglect of this form is often justified in terms either of historical significance (the market for new piano sonatas, in particular, declined significantly in the middle decades of the nineteenth century) or of the perceived intrinsic flaws of individual sonatas produced after 1828 by composers such as Schumann, Chopin and Liszt, to name only the more familiar musicians.
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- Information
- Words and Notes in the Long Nineteenth Century , pp. 55 - 72Publisher: Boydell & BrewerPrint publication year: 2013