Chromatic features of Emusic flat sign-major works of the Classical period

Music Theory Spectrum

Volumn 22, Issue 2, 2000, Pages 177-204

  Anson Cartwright, Mark ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61949308198     PISSN: 01956167     EISSN: None     Source Type: Journal    
DOI: 10.1525/mts.2000.22.2.02a00030     Document Type: Review

References (32)

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2. Werner Lüthy, Mozart und die Tonarten-characteristik (Strasbourg: Heitz, 1931);
3. Alfred Einstein, "Mozart's Choice of Keys," The Musical Quarterly 27/? (1941): 415-21;
4. Mozart: His Character, His Work (New York: Oxford University Press, 1945), 157-63;
5. Theodor Werner, "Zur Kenntnis der Mozartschen Opernarie," Neues Mozart-Jahrbuch 2 (1942): 181-200;
6. Martin Chusid, "The Significance of D Minor in Mozart's Dramatic Music," Mozart-Jahrbuch 1965-66: 87-93;
7. Gretchen A. Wheelock, "Schwarze Gredel and the Engendered Minor Mode in Mozart's Operas," in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. Ruth A. Solie (Berkeley: University of California Press, 1993), 201-21.
8. Michael C. Tusa, "Beethoven's 'C-Minor Mood': Some Thoughts on Structural Implications of Key Choice," in Beethoven Forum 2, ed. Lewis Lockwood and James Webster (Lincoln: University of Nebraska Press, 1993), 1-27.
9. Stephen Blum, "Three Austrian Ragas: Mozart's C Minor, G Minor, and D Minor," lecture delivered at the Graduate School of the City University of New York, 15 March 1993.
10. Emusic, "The Development Section in Haydn's Late Instrumental Works" (Ph.D. diss., City University of New York, 1998), 112-17.
11. James Webster, "The Analysis of Mozart's Arias," in Mozart Studies, ed. Cliff Eisen (Oxford: Clarendon, 1991), 101-99, especially 107-8.
12. Lüthy, Mozart und die Tonarten-characteristik, 43ff.
13. Einstein ("Mozart's Choice of Keys," 419-20; reprint, 161-62)
14. Charles Fisk addresses this issue in "Expanding the Scope of Schubertian Tonality: The Opus 90 Impromptus," paper delivered at the annual meeting for the Society for Music Theory, Baton Rouge, Louisiana, 2 November 1996.
15. Gustav Nottebohm, "Ein Skizzenbuch aus den Jahren 1815 und 1816," in Zweite Beethoveniana: Nachgelassene Aufsätze (Leipzig: C. F. Peters, 1887), 326.
16. Johann Philipp Kirnberger, The Art of Strict Musical Composition, trans. David Beach and Jurgen Thym (New Haven: Yale University Press, 1982), 339.
17. James Webster "Haydn's Sacred Vocal Music and the Aesthetics of Salvation," in Haydn Studies, ed. W. Dean Sutcliffe (Cambridge: Cambridge University Press, 1998), 51.
18. "Beethoven's 'C-Minor Mood,'" 4
19. Leonard B. Meyer, Emotion and Meaning in Music (Chicago: University of Chicago Press, 1956), 35.
20. Henry Burnett and Shaugn O'Donnell in "Linear Ordering of the Chromatic Aggregate in Classical Symphonic Music," Music Theory Spectrum 18/1 (1996): 22-50; see especially 49.
21. Carl Schachter, "The Prelude from Bach's Suite No. 4 for Violoncello Solo: The Submerged Urlinie," Current Musicology 56 (1994): 54-71.
22. Schenker's reading in Five Graphic Analyses (New York: Dover, 1969; orig. ed. 1932).
23. Schenker "Haydn: Sonate Es-dur," Der Tonwille 3 (1922): 3-21 [10] (see Fig. 2).
24. "Haydn: Sonata in E-flat Major," trans. Wayne Petty, Theoria 3 (1988): 105-60.
25. Wayne Petty "Cyclic Integration in Haydn's Emusic flat sign Piano Sonata, Hob. XVI:38," Theory and Practice 19 (1994): 31-55;
26. Steven Laitz, "The Submediant Complex: Its Musical and Poetic Roles in Schubert's Songs," Theory and Practice 21 (1996): 123-65.
27. Daniel Heartz, "The Great Quartet in Mozart's Idomeneo," The Music Forum 5 (1980): 233-56 [252].
28. Deborah Kessler's analysis in "Schubert's Late Three-Key Expositions: Influence, Design, and Structure" (Ph.D. diss., City University of New York, 1996), 200-201 and 532 (Example 4.6).
29. music sharp sign in Beethoven's Op. 18 No. 3, and its Antecedents in Haydn," Music Analysis 17/3 (1998): 295-312.
30. Richard Cohn, "Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions," Music Analysis 15/1 (1996): 9-40.
31. Kessler, "Schubert's Late Three-Key Expositions," 207-20.