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1 5 9 N o t e s Notes FORMENLEHRE IN THEORY AND PRACTICE James Webster 1. Kurt Westphal, Der Begriff der musikalischen Form in der Wiener Klassik: Versuch einer Grundlegung der Theorie der musikalischen Formung (1935). 2. Edward T. Cone, Musical Form and Musical Performance (1968), pp. 88–98 (the quoted passage is on p. 89). 3. James Webster, “Sonata Form,” in The Revised New Grove Dictionary (London , 2001), Vol. 23, p. 688, col. 1. (I quote my own article not out of hubris or excessive self-regard, but simply because in it my ideas are formulated more efficiently than elsewhere.) 4. Mark Evan Bonds, Wordless Rhetoric: Music and the Metaphor of the Oration (1991), pp. 13–30. 5. As I argue in The Revised New Grove Dictionary, pp. 689–90 (as does Caplin in his essay here). Many of those who disagree with my approach give the impression of doing so owing to a belief that I employ sonata form as a criterion of value. Admittedly, in the past there was a strong tendency in this direction; but I don’t share it, and I see no reason to alter the approach that seems to me best merely for that reason. 6. As argued in Hepokoski & Darcy, Elements of Sonata Theory, pp. 343–45. 7. Most commonly cited is Realism in Nineteenth-Century Music (1985), p. 121 et passim; with respect to sonata form, see Analysis and Value Judgment (1983), pp. 45–46 et passim. For a critique of Dahlhaus’s usage (not of the concept as such) see Philip Gossett, “Carl Dahlhaus and the ‘Ideal Type’” (1989-90), pp. 49–56. 8. For simplicity’s sake, I do use the single word ‘form’ thereafter. 9. Jeffrey Kallberg, “The Rhetoric of Genre: Chopin’s Nocturne in G Minor” (1988), pp. 238–61; James Hepokoski, “Genre and Content in MidCentury Verdi” (1989), pp. 249–76. 10. Dahlhaus once published what he imagined to be a provocative study under the title “‘Dritte Themen’ in Clementis Sonaten? Zur Theorie der Sonatenform im 18. Jahrhundert” (1982), pp. 444–61, as if there were anything unusual or problematic in having more than two important themes or sections in an exposition. On close inspection his writings on form in his Beethoven monograph, for example, prove to be grounded on ‘thematicist’ principles; see James Webster, “Dahlhaus’s Beethoven and the Ends of Analysis” (1993), pp. 205–27. The term ‘thematicism’ is taken from Joseph Kerman, Contemplating Music (1985), pp. 64–79. 11. Heinrich Schenker, Free Composition (1979), §§ 87–99 and Exx. 21–26;§ 192; §§ 309–16 (with the long gloss by Oster, pp. 139–41) and Exx. 153–54. 12. Regarding Schenker, see, for example: James Webster, Haydn’s Farewell Symphony and the Idea of Classical Style (1991), pp. 50–56. 13. Donald F. Tovey, Musical Articles from the Encyclopaedia Britannica, p. 210. 14. Hepokoski & Darcy, Elements of Sonata Theory, p. 8. 15. Harold S. Powers, unpublished study of Verdi’s Otello presented at a Verdi –Wagner conference at Cornell University in 1984 (for the published papers p p . 1 2 3 – 1 2 8 1 6 0 N o t e s see Carolyn Abbate and Roger Parker (eds.), Analyzing Opera: Verdi and Wagner (Berkeley, 1989). For detailed expositions of the method, see Webster, “The Analysis of Mozart’s Arias” (1991), pp. 101–99; id., “The Form of the Finale of Beethoven’s Ninth Symphony” (1992). 16. Note the inclusion of so-called ‘secondary’ parameters (dynamics, instrumentation, register), which are usually marginalized in the analysis of 18th -century instrumental music (Mahler, say, being a different story). For an example in which register is treated as equivalent in importance to tonal structure , see my analysis of the first movement of Haydn’s string quartet Op. 9, No. 4, in “Haydn’s Op. 9: A Critique of the Ideology of the ‘Classical’ String Quartet” (2005), pp. 149–50. (I note in passing that in a vocal work one must go further, adding (at least) the verbal text, differences of material, rhythm, etc. between voice(s) and accompaniment, vocal tessitura, and temporal and functional relations between vocal passages and those for instruments alone. Furthermore , a text is multivalent in its own right: it comprises (at least) the poetic form, linguistic and lexical usages, tone and voice, and ideational content—not to mention the complex and difficult issues of the relation of text to music, and of interpretation, that inevitably arise.) 17. E.g., William Kinderman, Beethoven (1995), pp. 313...

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