James Hepokoski – författare

Elements of Sonata Theory outlines a fresh approach to analysing the sonata. Both building on and departing from earlier methods of analysis, this study provides a comprehensive and in-depth examination of the sonata genre. After establishing the normative features of the sonata, the authors examine how individual sonatas from Beethoven, Haydn, and Mozart both adhere to and deviate from those standards to a variety of effects. Co-authored by a music theorist and a musicologist, this book both provides a groundbreaking foundational theory and offers fresh insights on individual works from the Western canon.

Sonata form is the most commonly encountered organizational plan in the works of the classical-music masters, from Haydn, Mozart, and Beethoven to Schubert, Brahms, and beyond. Sonata Theory, an analytic approach developed by James Hepokoski and Warren Darcy in their award-winning Elements of Sonata Theory (2006), has emerged as one of the most influential frameworks for understanding this musical structure. What can this method from "the new Formenlehre" teach us about how these composers put together their most iconic pieces and to what expressive ends?In this new Sonata Theory Handbook, Hepokoski introduces readers step-by-step to the main ideas of this approach. At the heart of the book are close readings of eight individual movements — from Mozart's Piano Sonata in B-flat, K. 333, to such structurally complex pieces as Schubert's "Death and the Maiden" String Quartet and the finale of Brahms's Symphony No 1 — that show this analytical method in action. These illustrative analyses are supplemented with four updated discussions of the foundational concepts behind the theory, including dialogic form, expositional action zones, trajectories toward generically normative cadences, rotation theory, and the five sonata types. With its detailed examples and deep engagements with recent developments in form theory, schema theory, and cognitive research, this handbook updates and advances Sonata Theory and confirms its status as a key lens for analyzing sonata form.

Sonata form is the most commonly encountered organizational plan in the works of the classical-music masters, from Haydn, Mozart, and Beethoven to Schubert, Brahms, and beyond. Sonata Theory, an analytic approach developed by James Hepokoski and Warren Darcy in their award-winning Elements of Sonata Theory (2006), has emerged as one of the most influential frameworks for understanding this musical structure. What can this method from "the new Formenlehre" teach us about how these composers put together their most iconic pieces and to what expressive ends?In this new Sonata Theory Handbook, Hepokoski introduces readers step-by-step to the main ideas of this approach. At the heart of the book are close readings of eight individual movements — from Mozart's Piano Sonata in B-flat, K. 333, to such structurally complex pieces as Schubert's "Death and the Maiden" String Quartet and the finale of Brahms's Symphony No 1 — that show this analytical method in action. These illustrative analyses are supplemented with four updated discussions of the foundational concepts behind the theory, including dialogic form, expositional action zones, trajectories toward generically normative cadences, rotation theory, and the five sonata types. With its detailed examples and deep engagements with recent developments in form theory, schema theory, and cognitive research, this handbook updates and advances Sonata Theory and confirms its status as a key lens for analyzing sonata form.

Sonata form is the most commonly encountered organizational plan in the works of the classical-music masters, from Haydn, Mozart, and Beethoven to Schubert, Brahms, and beyond. Sonata Theory, an analytic approach developed by James Hepokoski and Warren Darcy in their award-winning Elements of Sonata Theory (2006), has emerged as one of the most influential frameworks for understanding this musical structure. What can this method from "the new Formenlehre" teach us about how these composers put together their most iconic pieces and to what expressive ends?In this new Sonata Theory Handbook, Hepokoski introduces readers step-by-step to the main ideas of this approach. At the heart of the book are close readings of eight individual movements from Mozart''s Piano Sonata in B-flat, K. 333, to such structurally complex pieces as Schubert''s "Death and the Maiden" String Quartet and the finale of Brahms''s Symphony No 1 that show this analytical method in action. These illustrative analyses are supplemented with four updated discussions of the foundational concepts behind the theory, including dialogic form, expositional action zones, trajectories toward generically normative cadences, rotation theory, and the five sonata types. With its detailed examples and deep engagements with recent developments in form theory, schema theory, and cognitive research, this handbook updates and advances Sonata Theory and confirms its status as a key lens for analyzing sonata form.

Sonata form is the most commonly encountered organizational plan in the works of the classical-music masters, from Haydn, Mozart, and Beethoven to Schubert, Brahms, and beyond. Sonata Theory, an analytic approach developed by James Hepokoski and Warren Darcy in their award-winning Elements of Sonata Theory (2006), has emerged as one of the most influential frameworks for understanding this musical structure. What can this method from "the new Formenlehre" teach us about how these composers put together their most iconic pieces and to what expressive ends?In this new Sonata Theory Handbook, Hepokoski introduces readers step-by-step to the main ideas of this approach. At the heart of the book are close readings of eight individual movements from Mozart''s Piano Sonata in B-flat, K. 333, to such structurally complex pieces as Schubert''s "Death and the Maiden" String Quartet and the finale of Brahms''s Symphony No 1 that show this analytical method in action. These illustrative analyses are supplemented with four updated discussions of the foundational concepts behind the theory, including dialogic form, expositional action zones, trajectories toward generically normative cadences, rotation theory, and the five sonata types. With its detailed examples and deep engagements with recent developments in form theory, schema theory, and cognitive research, this handbook updates and advances Sonata Theory and confirms its status as a key lens for analyzing sonata form.

Elements of Sonata Theory is a comprehensive, richly detailed rethinking of the basic principles of sonata form in the decades around 1800. This foundational study draws upon the joint strengths of current music history and music theory to outline a new, up-to-date paradigm for understanding the compositional choices found in the instrumental works of Haydn, Mozart, Beethoven, and their contemporaries: sonatas, chamber music, symphonies, overtures, and concertos. In so doing, it also lays out the indispensable groundwork for anyone wishing to confront the later adaptations and deformations of these basic structures in the nineteenth and earlier twentieth centuries. Combining insightful music analysis, contemporary genre theory, and provocative hermeneutic turns, the book brims over with original ideas, bold and fresh ways of awakening the potential meanings within a familiar musical repertory. Sonata Theory grasps individual compositions-and each of the individual moments within them-as creative dialogues with an implicit conceptual background of flexible, ever-changing historical norms and patterns. These norms may be recreated as constellations "compositional defaults," any of which, however, may be stretched, strained, or overridden altogether for individualized structural or expressive purposes. This book maps out the terrain of that conceptual background, against which what actually happens-or does not happen-in any given piece may be assessed and measured. The Elements guides the reader through the standard (and less-than-standard) formatting possibilities within each compositional space in sonata form, while also emphasizing the fundamental role played by processes of large-scale circularity, or "rotation," in the crucially important ordering of musical modules over an entire movement. The book also illuminates new ways of understanding codas and introductions, of confronting the generating processes of minor-mode sonatas, and of grasping the arcs of multimovement cycles as wholes. Its final chapters provide individual studies of alternative sonata types, including "binary" sonata structures, sonata-rondos, and the "first-movement form" of Mozart''s concertos.

Elements of Sonata Theory is a comprehensive, richly detailed rethinking of the basic principles of sonata form in the decades around 1800. This foundational study draws upon the joint strengths of current music history and music theory to outline a new, up-to-date paradigm for understanding the compositional choices found in the instrumental works of Haydn, Mozart, Beethoven, and their contemporaries: sonatas, chamber music, symphonies, overtures, and concertos. In so doing, it also lays out the indispensable groundwork for anyone wishing to confront the later adaptations and deformations of these basic structures in the nineteenth and earlier twentieth centuries.Combining insightful music analysis, contemporary genre theory, and provocative hermeneutic turns, the book brims over with original ideas, bold and fresh ways of awakening the potential meanings within a familiar musical repertory. Sonata Theory grasps individual compositions-and each of the individual moments within them-as creative dialogues with an implicit conceptual background of flexible, ever-changing historical norms and patterns. These norms may be recreated as constellations "compositional defaults," any of which, however, may be stretched, strained, or overridden altogether for individualized structural or expressive purposes. This book maps out the terrain of that conceptual background, against which what actually happens-or does not happen-in any given piece may be assessed and measured.The Elements guides the reader through the standard (and less-than-standard) formatting possibilities within each compositional space in sonata form, while also emphasizing the fundamental role played by processes of large-scale circularity, or "rotation," in the crucially important ordering of musical modules over an entire movement. The book also illuminates new ways of understanding codas and introductions, of confronting the generating processes of minor-mode sonatas, and of grasping the arcs of multimovement cycles as wholes. Its final chapters provide individual studies of alternative sonata types, including "binary" sonata structures, sonata-rondos, and the "first-movement form" of Mozart's concertos.

Elements of Sonata Theory is a comprehensive, richly detailed rethinking of the basic principles of sonata form in the decades around 1800. This foundational study draws upon the joint strengths of current music history and music theory to outline a new, up-to-date paradigm for understanding the compositional choices found in the instrumental works of Haydn, Mozart, Beethoven, and their contemporaries: sonatas, chamber music, symphonies, overtures, and concertos. In so doing, it also lays out the indispensable groundwork for anyone wishing to confront the later adaptations and deformations of these basic structures in the nineteenth and earlier twentieth centuries. Combining insightful music analysis, contemporary genre theory, and provocative hermeneutic turns, the book brims over with original ideas, bold and fresh ways of awakening the potential meanings within a familiar musical repertory. Sonata Theory grasps individual compositions-and each of the individual moments within them-as creative dialogues with an implicit conceptual background of flexible, ever-changing historical norms and patterns. These norms may be recreated as constellations "compositional defaults," any of which, however, may be stretched, strained, or overridden altogether for individualized structural or expressive purposes. This book maps out the terrain of that conceptual background, against which what actually happens-or does not happen-in any given piece may be assessed and measured. The Elements guides the reader through the standard (and less-than-standard) formatting possibilities within each compositional space in sonata form, while also emphasizing the fundamental role played by processes of large-scale circularity, or "rotation," in the crucially important ordering of musical modules over an entire movement. The book also illuminates new ways of understanding codas and introductions, of confronting the generating processes of minor-mode sonatas, and of grasping the arcs of multimovement cycles as wholes. Its final chapters provide individual studies of alternative sonata types, including "binary" sonata structures, sonata-rondos, and the "first-movement form" of Mozart''s concertos.

Sibelius's Fifth is one of the great late-Romantic symphonies. In this searching account, based on a wealth of new information, James Hepokoski takes a fresh look at the work and its composer. His findings have implications beyond Sibelius himself into the entire repertory of Post-Wagnerian symphonic composition. The early chapters place the Fifth Symphony squarely within the general culture of European musical 'modernism' and focus in particular on the problem of the clash of that culture with the more radical 'New-Music' experiments of an emerging younger generation of composers. Subsequent chapters include a probing consideration of Sibelius's style and meditative aesthetic; an account of how the symphony was composed; and a descriptive analysis of the final, familiar version. The book concludes with a discussion of the composer's own prescribed tempos for the Fifth Symphony, along with a comparison of several different recordings.

Sibelius's Fifth is one of the great late-Romantic symphonies. In this searching account, based on a wealth of new information, James Hepokoski takes a fresh look at the work and its composer. His findings have implications beyond Sibelius himself into the entire repertory of Post-Wagnerian symphonic composition. The early chapters place the Fifth Symphony squarely within the general culture of European musical 'modernism' and focus in particular on the problem of the clash of that culture with the more radical 'New-Music' experiments of an emerging younger generation of composers. Subsequent chapters include a probing consideration of Sibelius's style and meditative aesthetic; an account of how the symphony was composed; and a descriptive analysis of the final, familiar version. The book concludes with a discussion of the composer's own prescribed tempos for the Fifth Symphony, along with a comparison of several different recordings.

Among the most original and provocative musicological writers of his generation, James Hepokoski has elaborated new paradigms of inquiry for both music history and music theory. Advocating fundamental shifts of methodological reorientation within the quest for potential musical meanings, his work spans both disciplines and offers substantial challenges for each. At its core is the conviction that a close study of musical genres, procedures, and structures”those qualities of a composition that are specifically musical”is essential to any responsible hermeneutic enterprise. Selected from writings from 1984 to 2008, this collection of essays provides a generous introduction to the author’s most innovative and influential work on a wide variety of topics: musicological methodology, issues of staging and performance, Italian opera, program music, and exemplary studies of individual pieces.

Among the most original and provocative musicological writers of his generation, James Hepokoski has elaborated new paradigms of inquiry for both music history and music theory. Advocating fundamental shifts of methodological reorientation within the quest for potential musical meanings, his work spans both disciplines and offers substantial challenges for each. At its core is the conviction that a close study of musical genres, procedures, and structures those qualities of a composition that are specifically musical is essential to any responsible hermeneutic enterprise. Selected from writings from 1984 to 2008, this collection of essays provides a generous introduction to the author‘s most innovative and influential work on a wide variety of topics: musicological methodology, issues of staging and performance, Italian opera, program music, and exemplary studies of individual pieces.

Among the most original and provocative musicological writers of his generation, James Hepokoski has elaborated new paradigms of inquiry for both music history and music theory. Advocating fundamental shifts of methodological reorientation within the quest for potential musical meanings, his work spans both disciplines and offers substantial challenges for each. At its core is the conviction that a close study of musical genres, procedures, and structures those qualities of a composition that are specifically musical is essential to any responsible hermeneutic enterprise. Selected from writings from 1984 to 2008, this collection of essays provides a generous introduction to the author‘s most innovative and influential work on a wide variety of topics: musicological methodology, issues of staging and performance, Italian opera, program music, and exemplary studies of individual pieces.