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You in this episode IN#39’m going to discuss some basic theme types and define their characteristics later on in the series we#39’re going to revisit these theme types and discuss them in greaterdetailwith the advent of the pre-classical era came what is now known as the gallant style this saw a new transparency emerging in the music which included among other things a declining emphasis on dense counterpoint a tendency towards simpler harmonic language more rooted in the tonic dominant relationship and newfound symmetry in the construction of musical phrases this last aspect is one of the most striking due to its implications in the study of musical form the more regular and transparent divisions make the music much easier to deconstruct into its constituent formal units contrary to common belief however this does not mean that the music is formulaic nor does it mean that it is inherently more simplistic there's a tendency in the teaching of music theory that assumes sonatas should be judged in comparison to the description of form given by the theorists of the early 19th century of course we have the triumphant declaration of Beethoven student Carl journey who claimed to have been the first to describe the elements of the form the analysis traditionally consists of the following a main theme a Bridger transition a secondary theme and closing theme these combine to form what's called the exposition this is followed by a development section in which the material presented in the exposition is often combined and taken in a new direction following an emphatic passage on the dominant the elements of the exposition are repeated in varying degrees of similarity to the opening this is called the recapitulation thereat other features that do not always appear but are common enough to be included in a general theory of Sonata form these include an introduction multiple subordinate themes an entirely new theme in the development section and Cobain the words of Charles rose this theoretical approach leads to the assumption that divergences from the pattern are irregularities and that early eighteenth-century versions of the form represent an inferior stage from which a higher type evolved this causes one to believe that Beethoven for example was simply expanding on an existing archetype when in truth his music makes it quite clear that for him form was an organic and very dynamic element of music that depended on the specific material at hand with or without reference to the aforementionedstandarda stylistic approach to form disadvantageous because it allows one to generalize more subtle principles without boundaries the details would best diverse that any attempt to categorize them would be fruitless however this approach leans toward the belief that the respective forms of two works from the same period are automatically more similar than those of works from two different eras a simple illustration will clarify this pointing the allegro of...
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