Formal Dynamics of the Eighteenth-Century Type 2 Sonata
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Date
2022-02-18
Authors
Wright, Chelsea
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Publisher
University of Oregon
Abstract
Sonata form is arguably the most important form to develop in eighteenth-century instrumental music. In their 2006 treatise, Elements of Sonata Theory, James Hepokoski and Warren Darcy identify five sonata types prominent in the eighteenth century that interact with the “textbook” form taught in undergraduate classrooms today—what they call the “Type 3” sonata. Type 2 sonatas, or “sonatas without recapitulation,” are the subject of this dissertation. In these pieces, the return of the primary key near the end of the piece coincides with secondary theme material—seemingly passing over primary theme material. While the Type 2 form was extremely common in the mid-eighteenth century, its behaviors remain largely unexplored in the music-theoretical and analytical literature. The purpose of this project is to explore how features early in an eighteenth-century Type 2 movement interact with the moment of the primary key’s return later in the movement. I consider the role of main themes, cadences, and the layout of a piece’s development. Musical examples come from composers whose use of the Type 2 form is notable, from better-known composers such as Mozart and J.C Bach to lesser-known composers such as Johann Stamitz and Marianna D’Auenbrugg. By exploring how these features impact our hearing of a work’s tonal resolution, we pave the way for a deeper understanding about what makes these moments expressive and meaningful.
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Keywords
Galant Style, Sonata Form