Mozart, Piano Sonata in B-flat, K. 333/i (Allegro)

2021 ◽  
pp. 24-39
Author(s):  
James Hepokoski
Keyword(s):  
Close Reading ◽  
Piano Sonata ◽  
Theory Analysis ◽  
Specific Mode ◽  
Sonata Theory ◽  
Individual Work ◽  
Analytical Practice

Chapter 2—which may be read before chapter 1, if that is the preference of the reader—is the book’s first illustration of Sonata Theory in practice. It provides a close reading of the first movement of Mozart’s Piano Sonata in B-flat, K. 333, that simultaneously presents an introduction to the theory’s specific mode of analysis and its most central concepts and terms. Not least of its concerns are its urgings that the listener/analyst is a co-creator of the work’s meaning (resulting ultimately in a responsible hermeneutic reading): Sonata Theory analysis seeks to be an aesthetically receptive, interactive dialogue with an individual work. Even in its most language-technical moments, it tries to integrate methodical observation with a personal sensitivity to the affective contours and colors of music as music. Two other features of the book are also introduced here: a historical/contextual backdrop for the work under consideration (including dating, original purpose, and aesthetic); and the inclusion of other modes of analytical practice to suggest their compatibility with Sonata Theory.

SCHUBERT AS SCHILLER’S SENTIMENTAL POET

2007 ◽  
Vol 4 (2) ◽  
pp. 251-263 ◽  
Author(s):  
SU YIN MAK
Keyword(s):  
Lyric Poetry ◽  
Literary Imagination ◽  
Close Reading ◽  
Close Correspondence ◽  
Song Settings ◽  
Present Experience ◽  
Close Friendships ◽  
Compositional Language ◽  
Analytical Practice ◽  
The Ideal

ABSTRACTSchubert’s lifelong interest in literature, his close friendships with poets and his preference for lyric poetry in his prolific song settings suggest that his compositional language may be shaped as much by a literary imagination as by musical concerns. This article argues for a close correspondence between Schubert’s late instrumental style and Friedrich Schiller’s conception of the elegiac. In ‘On Naïve and Sentimental Poetry’ Schiller describes the sentimental poet as having to contend with two conflicting objects, the ideal and actuality, and to represent their opposition either satirically or elegiacally: whereas satire rails against the imperfections of present reality, elegy expresses longing for an ideal that is lost and unattainable. Paradoxically, however, the poet’s longing must take place in a flawed present; the elegiac thus projects not only a disjunction between divided worlds, but also a cyclic temporality in which memory and desire, past and future, are both entwined with the immediacy of present experience. In both Schiller and Schubert, this paradoxical temporal sensibility is often represented by patterns of returning, repetition and circularity. A close reading of Schubert’s Moment musical in A flat major, d780/2, illustrates how Schiller’s conception of the elegiac might be put into analytical practice.

scholarly journals Voice-Leading Transformation and Generative Theories of Tonal Structure

2015 ◽  
Vol 21 (4) ◽  
Author(s):  
Jason Yust
Keyword(s):  
Turning Point ◽  
Voice Leading ◽  
Structural Level ◽  
Piano Sonata ◽  
Tonal Structure ◽  
Tonal Hierarchy ◽  
Representational Model ◽  
Extended Analysis ◽  
Analytical Practice ◽  
Generative System

Numerous generative approaches to explaining tonal structure and/or Schenker’s theories have been proposed since Babbitt noted a resemblance between Schenker’s analytical method and Chomskian generative grammars in 1965. One of the more challenging features of Schenker’s theory to replicate in a generative system is the interaction of counterpoint and hierarchy. Many theorists, such as Lerdahl and Jackendoff, skirt the problem by developing non-contrapuntal systems, meaning ones that do not allow for layers with conflicting hierarchical descriptions.This article tackles the counterpoint problem by first proposing a dynamic model for tonal hierarchy, which matches the usage of basic Schenkerian symbols (slurs and beams), and differs from the representational model used by Lerdahl and Jackendoff and others. I then summarize Schenker’s argument for a contrapuntal theory of tonal structure and show that this implies a relativity of contrapuntal voices to structural level which necessitates a theory of voice-leading transformation. This concept of voice-leading transformation marks a crucial turning point in Schenker’s analytical practice leading directly to his theory of levels, and is fundamental to understanding his late theory. The article also operationalizes the idea of voice-leading transformations within a generative system, and illustrates it with short analyses of themes from Bach’sPartitasand an extended analysis of the Menuetto from Beethoven’s Op. 21 Piano Sonata. In the latter analysis the concept of voice-leading transformation facilitates the discovery of an exceptional feature in the deep middleground of the piece.

The Logics of Worldlessness

2020 ◽  
pp. 245-292
Author(s):  
Roland Végső
Keyword(s):  
The Other ◽  
Close Reading ◽  
Other Hand ◽  
Historical Condition ◽  
The One

The final chapter provides a close reading of Alain Badiou’s The Logics of Worlds. It argues that the theoretical conflict between Being and Event and The Logics of Worlds plays out in the space defined by the tension between the ontological primacy of worldlessness and the phenomenological necessity of worlds. While the ontology of radical multiplicity introduced in Being and Event provides us with one of the most compelling arguments in favour of worldlessness, in the sequel to Being and Event Badiou turns to a novel phenomenology to account for the necessity of worlds. The chapter argues that it is the Heideggerian contradictions expounded upon in Chapter 1 that will help us make sense of a fundamental contradiction in Badiou’s philosophy: a conflict between the ontology of worldlessness and the politics of world-creation. To put it differently, in Badiou’s thought we encounter two forms of worldlessness: on the one hand, Being is worldless (which is a positive enabling condition) and, on the other hand, Capital is worldless (which is a negative historical condition).

Christianity’s Forgotten First Creed

2018 ◽  
Author(s):  
Stephen J. Patterson
Keyword(s):  
Close Reading ◽  
Jesus Movement ◽  
Christian Commitment ◽  
Basic Ideas

Chapter 1 offers a close reading of Galatians 3:26–28 to reveal an ancient creed resting within its folds. It also offers en route an introduction to Paul, the author of Galatians; how he came to join the Jesus movement; the basic ideas he brought to the movement; why he wrote this letter to the Galatians; and how he came to include this creed in it. Galatians 3:26–28 contains many additions to the original creed, which come from Paul’s own hand. But when Paul’s adaptations and alterations are peeled away, we can see the original creed, more or less as it would have been used in an ancient Christian baptismal ceremony. Since the creed itself predates its inclusion in Paul’s letter, we can suppose it to have been one of the earliest—if not the earliest—statement of Christian commitment and belief.

Science and the (Meta)Physical Body

2018 ◽  
pp. 31-58
Author(s):  
David S. Dalton
Keyword(s):  
Scientific Discourse ◽  
The Body ◽  
Close Reading ◽  
Human Knowledge ◽  
Physical Body ◽  
Scientific Discourses

Chapter 1 discusses José Vasconcelos’s notion of a cosmic race through a posthuman reading of his seminal essay The Cosmic Race [La raza cósmica] (1925) and his largely forgotten play Prometeo vencedor (1916?). Because Vasconcelos and his Ateneo colleagues were all famously antipositivist, they were suspicious of scientific discourses that purported to hold a monopoly on the “truth.” However, they also lived in a twentiethcentury society in which scientific discourse had gained intellectual hegemony. My chapter begins by asserting science as one of many discourses that compose Vasconcelos’s philosophy of Aesthetic Monism, which subordinates human knowledge to an overriding aesthetic imperative. Afterwards I use a close reading of Prometeo vencedor to assert the key role of science—especially in the guise of technology—in establishing both a worldwide mestizo society and a spiritual, posthuman superation of the body.

scholarly journals Elliott Carter's Analysis of his Piano Sonata (1945-46)

2021 ◽  
Vol 108 ◽  
pp. 53-80
Author(s):  
Ira Braus
Keyword(s):  
String Quartet ◽  
Sonata Form ◽  
Piano Sonata ◽  
Edgard Varese ◽  
Elliott Carter ◽  
Sonata Theory ◽  
External Evidence

In 1948, Elliott Carter penned an analysis of his Piano Sonata for Edgard Varèse.  His analysis of the first movement, in particular, makes one ask why Carter did not subsume its recurrent two-tempo structure under “first group” of its sonata form.  Given Carter’s sophistication,  was he experiencing a moment of music historical “agnosia,” since two-tempo expositions inform  familiar Beethoven  works such as  Piano Sonata, op.31, no.2 and String Quartet in Bb, op.130. This paper explores Carter’s “agnosia” by way of internal and external evidence. Internally, it revisits the thematic chart he attached to the 1948 analysis and goes on to posit the idea that the work’s quintal neo-tonality so saturates its thematic network themes as to distort the composer’s analysis of the form, historical precedents irrespective.  Externally, the paper  compares three works by Beethoven to Carter’s Sonata as regards its two-tempo structure, using concepts borrowed from Hepokoski and Darcy’s Elements of Sonata Theory (1999).  Finally, the author revisits  writings of Carter and his circle that may explain why his analysis downplayed historical precedents to the Piano Sonata.

Beethoven, Symphony No. 2 in D, op. 36/i (Adagio molto–Allegro con brio)

2021 ◽  
pp. 120-135
Author(s):  
James Hepokoski
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Central Issue ◽  
Close Reading ◽  
Sonata Theory ◽  
Minor Mode ◽  
Late Eighteenth Century ◽  
Middle Period ◽  
Late Eighteenth ◽  
Initial Movement

This chapter moves on from Mozart and Haydn to consider an early-nineteenth-century movement from Beethoven, the initial movement of his Symphony No. 2, written at the onset of what he considered to be an aesthetic “new path” of composition (and which we tend to regard as the onset of his “middle period”). While the parallels between this movement and that of Haydn’s Symphony No. 100 (chapter 5) are clear—a major-to-minor “fall” in the introduction, themes with “military” connotations, a drive toward a triumphant conclusion, and the like—the differences between the two are equally instructive. With Beethoven we are thrown into a more turbulent musical world, where the classical norms of late-eighteenth-century sonata practice are exaggerated, hyper-dramatized, and sometimes overridden (with “deformations”). The older “default” norms of sonata practice begin to be regularly challenged, and with them arises a new, proto-romantic sense of “listening” and “understanding.” Once past the initial historical backdrop and reframing of Sonata Theory for the onset of a new century, the close reading of the movement that takes up the most of the chapter argues that a central issue in the movement is that of major-minor conflict, where the introduction’s “fall” into minor is not overcome until the climactic post-sonata coda. In part this also prepares the reader for the extended discussions of the minor-mode sonata in the ensuing chapter.

Quick Reference: Chapter 1: The Musculoskeletal System: The Hand and Upper Extremity

2000 ◽  
Vol 5 (5) ◽  
pp. 4-5
Keyword(s):  
Dorsal Column ◽  
Persistent Pain ◽  
Illness Behavior ◽  
Abnormal Illness Behavior ◽  
Organ Systems ◽  
Spinal Cord Dorsal ◽  
Objective Basis ◽  
Dorsal Column Stimulation ◽  
Underlying Pathology

Abstract Spinal cord (dorsal column) stimulation (SCS) and intraspinal opioids (ISO) are treatments for patients in whom abnormal illness behavior is absent but who have an objective basis for severe, persistent pain that has not been adequately relieved by other interventions. Usually, physicians prescribe these treatments in cancer pain or noncancer-related neuropathic pain settings. A survey of academic centers showed that 87% of responding centers use SCS and 84% use ISO. These treatments are performed frequently in nonacademic settings, so evaluators likely will encounter patients who were treated with SCS and ISO. Does SCS or ISO change the impairment associated with the underlying conditions for which these treatments are performed? Although the AMA Guides to the Evaluation of Permanent Impairment (AMA Guides) does not specifically address this question, the answer follows directly from the principles on which the AMA Guides impairment rating methodology is based. Specifically, “the impairment percents shown in the chapters that consider the various organ systems make allowance for the pain that may accompany the impairing condition.” Thus, impairment is neither increased due to persistent pain nor is it decreased in the absence of pain. In summary, in the absence of complications, the evaluator should rate the underlying pathology or injury without making an adjustment in the impairment for SCS or ISO.

Fifth Edition: the New Standard

2000 ◽  
Vol 5 (6) ◽  
pp. 1-7
Author(s):  
Christopher R. Brigham ◽  
James B. Talmage ◽  
Leon H. Ensalada
Keyword(s):  
Musculoskeletal System ◽  
Medical Information ◽  
Objective Assessment ◽  
Scientific Data ◽  
Practical Application ◽  
Fourth Edition ◽  
Appropriate Use ◽  
Medical Evaluation ◽  
Single Set

Abstract The AMA Guides to the Evaluation of Permanent Impairment (AMA Guides), Fifth Edition, is available and includes numerous changes that will affect both evaluators who and systems that use the AMA Guides. The Fifth Edition is nearly twice the size of its predecessor (613 pages vs 339 pages) and contains three additional chapters (the musculoskeletal system now is split into three chapters and the cardiovascular system into two). Table 1 shows how chapters in the Fifth Edition were reorganized from the Fourth Edition. In addition, each of the chapters is presented in a consistent format, as shown in Table 2. This article and subsequent issues of The Guides Newsletter will examine these changes, and the present discussion focuses on major revisions, particularly those in the first two chapters. (See Table 3 for a summary of the revisions to the musculoskeletal and pain chapters.) Chapter 1, Philosophy, Purpose, and Appropriate Use of the AMA Guides, emphasizes objective assessment necessitating a medical evaluation. Most impairment percentages in the Fifth Edition are unchanged from the Fourth because the majority of ratings currently are accepted, there is limited scientific data to support changes, and ratings should not be changed arbitrarily. Chapter 2, Practical Application of the AMA Guides, describes how to use the AMA Guides for consistent and reliable acquisition, analysis, communication, and utilization of medical information through a single set of standards.

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