Schubert's Quartettsatz and sonata form's new way

Journal of Musicological Research

Volumn 21, Issue 1-2, 2002, Pages 99-146

  Fieldman, Hali ^a  

^a UNIVERSITY OF MISSOURI KANSAS CITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 67650576075     PISSN: 01411896     EISSN: None     Source Type: Journal    
DOI: 10.1080/01411890208574799     Document Type: Article

References (23)

1. and James Webster, "Schubert's Sonata Form and Brahms's First Maturity," Nineteenth-Century Music 2 (1978), 18-35
2. Other areas of concern include his treatment of harmony, especially his use of the subdominant in expositions and his penchant for affective, sometimes extended harmonic excursions between tonic and dominant areas in the exposition, which detract from the dramatic establishment of the structural dominant; on these points, see Charles Rosen, Sonata Forms, rev. ed. (New York: Norton, 1988), 354, 359
3. and Webster, "Schubert's Sonata Forms," 22-24
4. Michael L. Griffel, "A Reappraisal of Schubert's Methods of Composition," Musical Quarterly 63 (April 1977), 186-210
5. see also Gibbs, "Introduction," in Christopher H. Gibbs (Ed.), The Cambridge Companion to Schubert (Cambridge, UK: Cambridge University Press, 1997), 1-11 passim
6. Rosen, The Classical Style, 30. Rosen's more recent work does not seem, to retract that earlier stance; in "Schubert's Inflections of Classical Form," Rosen dismisses in Schubert the whole complex of musical factors, and their elegant balance, which define the sonata form of the Classical masters
7. See Rosen in Gibbs, The Cambridge Companion to Schubert, 83
8. Peter Pesic, "Schubert's Dream," Nineteenth-Century Music 23 (Fall 1999), 136-144
9. Richard Cohn, "As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert," Nineteenth-Century Music 22 (Spring, 1999), 213-232
10. Cohn, "Star Clusters," p. 214
11. See Rosen in Gibbs, The Cambridge Companion to Schubert, 72-98, 83
12. Rosen, Sonata Forms, 353
13. Philip G. Downs, "Beethoven's 'New Way' and the Eroica," in Paul Henry Lang (Ed.), The Creative World of Beethoven (New York: Norton, 1970), 83-102. Downs's title is, of course, a reference to Beethoven's own comments about his compositional process in the Eroica, a process that seems to demonstrate an awareness of the dramatic implications, in the theatrical sense, of the working-out of certain musical problems, initiated early on and left to linger throughout most of the length of the first movement
14. Terry Pinkard, Hegel's Dialectic: The Explanation of Possibility (Philadelphia: Temple University Press, 1988), 28-29. Pinkard's book is an eloquent and powerful explanation of Hegel's dialectical processes, which constitutes the basic methodology out of which his entire philosophical system is built
15. Rosen discusses these features of nondominant keys in several places. See, for instance, The Classical Style, 382-384
16. See also Eytan Agmon, "Functional Harmony Revisited: A Prototype-Theoretic Approach," Music Theory Spectrum 17 (Fall 1995), 196-214
17. Webster, "Schubert's Sonata Form," 26
18. see also Robert Bruce, "The Lyrical Element in Schubert's Instrumental Forms," Music Review 30 (May 1969), 131-137
19. Webster, "Schubert's Sonata Form," 26-30
20. For a detailed overview of the phenomenon, see Rey M. Longyear and Kate R. Covington, "Sources of the Three-Key Exposition," Journal of Musicology 6 (Fall 1988), 448-470
21. See, for instance, Thomas Denny, "Articulation, Elision, and Ambiguity in Schubert's Mature Sonata Forms: The Op. 95 Trio Finale in Its Context," Journal of Musicology 6 (Summer 1988), 340-366
22. William Rothstein, Phrase Rhythm in Tonal Music (New York: Schirmer Books, 1989), 115
23. Bruce, "The Lyrical Element," 137