Harmonic Aspects of Classic Form

Author(s): Leonard Ratner

Source: Journal of the American Musicological Society, Vol. 2, No. 3 (Autumn, 1949), pp.
159-168
Published by: University of California Press on behalf of the American Musicological
Society
Stable URL: http://www.jstor.org/stable/829717
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 Harmonic Aspects of Classic Form*
BY LEONARD RATNER

ity of two themes does not hold in

DURING the past century musical
the case
theorists have customarily re-of numerous movements that
garded classic sonata-form ascontain
beingmore than two themes;' it
constituted from two principal
also breaks down when applied to
themes. Textbook analysis hasthegen-
monothematic expositions that
are frequent
erally begun with identification of in Haydn.2 Poly- and
monothematic movements constitute
themes and proceeded to a descrip-
tion of their relationship and devel-
a formidable list of exceptions to the
opment. This preoccupation with rule. It appears, there-
bi-thematic
fore, that the bi-thematic concep-
thematic material is not surprising;
movements in sonata-form contain tion does not hold, simply on a statis-
salient melodic statements that offertical basis, and that the number of
convenient landmarks for analysis. themes in a successful sonata-form
Moreover, the familiar textbook out- may be variable.
line of sonata-form gives the approxi-(b) The bi-thematic conception
mate order of material for many requires contrast between the two
movements. Still, the thematic con- themes in order to give scope and
ception of classic sonata-form is by contour to the form. However, broad
no means universally valid. It is sub- scale contrast exists only in move-
ject to question both on the basis of ments that contain but two well-de-
internal evidence and on the basis of fined themes. Haydn's monothematic
the stylistic nature of classic sonata-sonata-forms can offer no long-range
form.
thematic contrast. Conversely, when
Internal evidence involves the fol- an exposition contains more than two
lowing items in the thematic ap-themes, contrast may become local.
proach: (a) bi-thematism, (b) the-Indeed, juxtaposed contrast is char-
matic contrast, and (c) well-defined acteristic of classic phrase and period
areas of statement and development. structure. Wilhelm Fischer says:3
(a) The bi-thematic nature of "Das wirkliche moderne [classic]
classic sonata-form has been consid- Thema hat kantabeln Character und
ered axiomatic; both the structure weist Kontrastierung im engsten
and the dramatic content of the form Rahmen auf." The idea of long-
rest supposedly upon the relation- range contrast becomes fixed only in
ship of two principal themes. Yet this romantic sonata-form.4 Romantic
assumption of a fundamental polar- klassischen Stils," in Studien zur Musikwis-
*This paper was read in Chicago on De- senschaft, III (1915), p. 25.
cember 29, 1948, at the fourteenth annual 4The I9th-century conception of thematic con-
meeting of the Society. trast is expressed as follows by Adolph Bern-
hard Marx: "In diesem Paar von Satzen
1For example: Mozart, Sinfonia Concertante,
K. 364, first movement; Mozart, "Jupiter" ist . .. der Hauptsatz das zuerst, also in ers
Symphony, first movement; Beethoven, "Ero- Frische und Energie Bestimnmte, mithin
ica" Symphony, first movement. energischer, markiger, absoluter Gebildete,
Herrschende und Bestimmende. Der Seiten-
2For example: "London" Symphony, first and satz dagegen ist . . das Mildere, mehr
fourth movements.
schmiegsam als markig Gebildete, das Wei-
8"Zur Entwicklungsgeschichte des Wiener bliche . .. zu jenem vorangehenden Mdnn-

159

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I60 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
composers have often sacrificed the form.' It fails to account for the dif-
logical continuity essential to sonata- ferences among baroque, classic, and
form in their efforts to emphasize the romantic forms; it does not recognize
contrast element. procedures that generate typical
(c) In the conventional concep- forms; consequently, it cannot deter-
tion, statement is assigned to the ex-mine what is essential in classic so-
position, working-over of themes tonata-form.
the development. In practice, this Sonata-form is principally a prod-
arbitrary distinction is not observed;uct of the classic style rather than
statement and development inter-of the baroque or romantic; it
mingle. Development-i.e. harmonicachieved its prominence as a result
digression, sequence, and variationof the classic treatment of musical
upon motives-often occurs in ex-materials available in the I8th cen-
positions,5 while closed and balanced tury. Theoretical writings of the late
thematic statements, often involvingI8th and early 19th centuries dem-
new melodic material, may be intro-onstrate the classic approach to style
duced at any point." Statement and and form.
development of themes, like thematic
contrast, may be local in scope and In classic theory, the standard
do not necessarily stand as long- scheme of a first movement was ex-
range factors that organize the form.pressed as a series of harmonic rela-
From the evidence given above it tionships. Virtually all references to
is apparent that the principal items in form describe or allude to an under-
the thematic conception of sonata-lying harmonic plan. August F. C.
form--bi-thematism, thematic con- Kollmann, organist in the German
trast, and well-defined areas of state-Chapel of George III of England,
ment and development-are not validand a theorist of some standing,
as basic formal criteria. Regardless ofwrote the following description of a
the aesthetic value of thematic ma- movement in his Essay on Practical
terial, it cannot be said that the gen-Musical Composition:8
erating factor of classic sonata-form
is a fixed relationship of themes. In its outline a long movement is gen-
erally divided into two sections. The first,
Stylistically, the thematic ap-
when the piece is in major, ends in the
proach betrays a lack of historical fifth of the scale, and the second in the
perspective. It establishes a norm by
key; but when the piece is in minor, the
which sonata-forms of different style
periods are judged; in so doing it has
5Mozart: Quintet in C major, K. 5x5, first
brought about misunderstandings as movement; Beethoven: Concerto no. 4 in G
to what constitutes a proper sonata-major, Op. 58, first movement.
6Beethoven: "Eroica" Symphony, first move-
ment, development; Mozart: Quartet in Bb,
lichen." (Kompositionslehre [Leipzig, 1871],
K. 458, first movement, development.
III, p. 282.) Lobe sets forth the exposition
in contrasted theme-groups: "Themagruppe- 4"In his major movements-not his minor-
Uebergangsgruppe-Gesangsgruppe-Schluss- Haydn commonly starts the second part of
gruppe." (Johann Christian Lobe, Musika- the exposition section by repeating his opening
lische Composition [Leipzig, 18581, I, p. 315.) theme in the dominant key. This entry seems
redundant and is never found in later com-
Czerny also emphasizes thematic contrast:
"... the middle subject . . . must be a new posers." (R. O. Morris, The Structure of
and more beautiful and pleasing melody than Music [London, 1934], p. 39.) Note: Spohr
all which precedes; and it must be very dif- uses a monothematic exposition in the first
ferent from the foregoing. .. ." (Carl Czerny, movement of his D minor Doppelquartett,
School of Practical Composition, Op. 6oo, tr. Op. 65.
Bishop [London, 1848], I, p. 35.) "(London, 1799), P. 5.

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 HARMONIC ASPECTS OF CLASSIC FORM 161

first section generally ends in thethe recapitulation

third of are based on har-
the scale and the second in the monic
key. ...
premises; this relationship is
Each section may be divided into two consistently in classic the-
set forth
subsections, which in the whole makes
four subsections.
ory. Indeed, it is assumed in the pres-
ent-day thematic interpretation, for
The first subsection must contain the set- the reconciliation of contrasting fac-
ting out from the key to its fifth in major, tors that occurs in the recapitulation
or third in minor, and it may end with the can be only harmonic, not thematic.
chord of the key or its fifth, but the latter Johann Gottlieb Portmann, in his
is better. The second subsection compre- Leichtes Lehrbuch der Harmonie,"
hends a first sort of elaboration, consist-
gives substantially the same descrip-
ing of a more natural modulation than thattion as Kollmann:
of the third subsection; it may be con-
fined to the third, or fifth, of the key, orDer Plan oder Entwurf eines musikalischen
also touch upon some related or even non- Stiickes ist die geschickte Stellung der
related keys if only no formal digression Haupt- und Nebentonarten, und Anord-
is made to any key other than the said nung dessen, was zuerst gesetzt, und zum
fifth in major and third in minor. The andern, dritten, vierten folgen soll. Z.B.,
third subsection comprehends a second ich will einen Entwurf zu dem Allegro
sort of elaboration, consisting of digres- einer Claviersonate in D dur machen. Ich
sions to all those keys and modes which setze also die Haupttonart D dur fest, in
shall be introduced besides that of the
welcher ich anfange und modulire; hernach
fifth (or third); and being the placeweiche
for ich durch die Dominante ... und
those abrupt modulations or enharmonic
schliesse darinnen. Dies sei der Entwurf
changes which the piece admits or requires.
zum ersten Theil des Allegro. Im anderen
The fourth subsection contains the return
Theil fange ich an mit lauter Ausweichung-
to the key, with a third sort of elabora-
en zu moduliren . . . diese fiihren mich
tion, similar to that of the first section.
also wieder in D dur, in welchem ich das
Thema wiederhole, ich mit meiner schon
The above is the plan of modulation,
which is to be found attended to in most so- in der Nebentonart . . . angebrachten
natas, symphonies, and concertos .... But Melodiearten und Wendungen nochmal
h6ren
it may be varied almost to the infinite. For lasse. Darinnen bleibe und schliesse.
the different sections and subsections may
Of particular importance in this de-
be of any reasonable variety of length and
the said sorts of modulation and elabora- scription of form is the first state-
tion may be diversified without end. ment: "The plan or outline of a mu-
sical piece is the effective order of
The above is sonata-form, de-
the principal and subsidiary keys."
scribed as a harmonic plan. Accord- This indicates a general conception
ing to Kollmann, the relationship of of form along harmonic lines; the ar-
keys outlines the form. Each subsec- rangement of keys determines the
tion, save the third, embodies a single form.
key. Despite the fact that the exposi- Heinrich Christoph Koch's Ver-
tion and recapitulation are customar- such einer Anleitung zur Composi-
ily of equal length, the former con- tion is perhaps the most comprehen-
sists of two subsections and the latter sive work of its kind to be found in
of but one. This is because the ex-
classic theoretical writings. Koch,
position embodies two keys and like
the Kollmann and Portmann, de-
recapitulation but one. The duality
scribed the form of an allegro move-
of the exposition and the unity of according to harmonic rela-
ment
9(Darmstadt, 1789), p. 50o. tionships. In the four descriptions of

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 162 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
first-movement form that occur in Later, in the third book of his Ver-
such, Koch considers first-movement
the course of his theoretical writings
(including his Lexikon) the planformis in great detail. Again the def-
inition of the form is given in har-
strictly according to keys.1x The fol-
lowing is the section on "Ausweich-monic terms:1 x
ungen" from his Versuch:11 Dieser erste Periode theilet sich daher in
zwey Theile, nemlich in die jenigem Theil
Der Gebrauch dieser drey mit einer harten
Tonart in dem ersten Grade verwandten in welchem die Haupttonart herrscht, und
in die jenigem wo die Tonart der Quinte
Tonarten ist bey der Ausfiihrung der
herrschend ist.
TonstiickeL von ganz gew6hnlicher Tonaus-
weichung dieser, dass der erste Periode des
With reference to the recapitulation,
Satzes, nachdem der Hauptton dem Ge-
fiihle genugsanr eingeprigt worden ist,Koch
in says:14
die Quinte ausweicht, und nach Propor-
Der letzte Periode unsers ersten Allegro,
tion des Umfanges des Stiickes sich in
derselben verweilt und schliesst. Der zweite der vorziiglich der Modulation in der
Haupttonart gewidmet ist, fingt am
Periode fingt in der Tonart der Quinten
wieder an, wird aber ohne sich nunmehr gew6hnlichsten wieder mit dem Thema,
zuweilen auch mit einem andern melo-
in derselben aufzuhalten . . . sondern . .
in die weiche Tonart der Sexte ausweicht. dischen Haupttheile in dieser Tonart an.
In dieser Tonart wird die Tonausfifihrung
entweder bis zum Schlusse dieses zweiten This option indicates that the re-
Perioden erhalten, welcher entweder ver-capitulation was, for Koch, funda-
mittelst der Cadenz in dieser weichen mentally a harmonic matter.
Tonart geschieht, und in diesem Falle Observations on the subject of
form by other writers show cogni-
fange alsdenn gemeiniglich der dritte Per-
iode wieder mit dem Anfangssatze und zance of the basic harmonic pattern.
zwar in der Haupttonart an; oder man
Momigny says:'
macht in diesem zweiten Perioden den
Tonschluss in die Sexte, verbindet aber
11 n'est donc pas n&cessaire, il n'est pas
auch zugleich unmittelbar damit den Zu- convenable de faire entendre un
meme
riickgang in die Haupttonart, in welchem
plus grand nombre de modulations dans
fast jederzeit der dritte Periode anfingt.
une premiere Reprise; en general les mo-
. . Nun folgt endlich der Schlussperiode
diles fournis par les plus grands maitres
der sich hauptsichlich in der Haupttonart
n'en contiennent guere davantage [two].
des Stiickes h6ren lisst. ...
Also, from Gottfried Weber:16
Regarding this description Koch
says: 12
Die gew6hnlichsten Ausweichungen sind
... ist dieses nun in Ansehung der Ton- folgende: In Stiicken aus harter Tonart
ausweichung die ganz gew6hnliche Be- macht man gew6hnlich, gegen die mitte
handlung der Sitze in Sinfonien, Quar- des Stiickes hin, eine ganze Ausweichung
tetten, Trios, und Sonaten in so ferne man in die harte Tonart der Dominante .
sie in Absicht auf die grossen Theile der und der erste Theil [wird] auch gew6hn-
lich mit einem vollkommenen Tonschlusse
Sitze, das ist, in Absicht auf ihre Perioden
betrachtet. in dieser Tonart abgeschlossen.
14Ibid., III, p. 311.
l0Versuch einer Anleitung zur Composition
(Leipzig, 1782-1793), II, P. 223; III, pp. 15J&r6me-Joseph de Momigny, Cours complet
30off, 34Iff; Lexikon (Vienna, I802), p. d'harmonie
199. et de composition (Paris, I8o6),
1Versuch, II, p. 223. p. 332.

12lbid., II, p. 225. 16Versuch einer geordneten Theorie der To

"I3bid., III, p. 342. setzkunst, 3rd ed. (Mainz, 1830), II, p. 279.

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 HARMONIC ASPECTS OF CLASSIC FORM 163

One searches in vain through Second

these section:
and other writings of the time fori. Harmonic elaboration and re-
the familiar thematic outline found turn to first key;
in today's textbooks.7 At the most, 2. Restatement of entire first sec-
there is some recognition of the ele- tion (or part thereof) in tonic
ment of thematic contrast, as in key.
Koch: 18
This harmonic scheme is bipartite.
Es ist schon oben bey der Beschreibung The movement away from the tonic
der Sinfonie erinnert worden, dass man in
is balanced by a return to and a con-
dem ersten Perioden ihres Allegro oft firmation of the tonic. Present-day
nicht eher einen f6rmlichen Absatz h6rt, theory considers sonata-form to have
als bis sich der Quintabsatz in der Tonart
der Quinte darstellt, welcher besonders three parts, involving presentation,
deswegen selten iibergangen wird, weil development, and restatement of mel-
man nach demselben gew6hnlich einen odic material. The bipartite concep-
cantabeln Satz anbringt. tion was retained well into the g9th
century, being held by Czerny,20
Also Vogler: 19 "In den Sinfonien Choron,21 and Lobe.2 At least one
befinden sich meistentheils zwei
distinguished modern theorist, Don-
Hauptsditze, erstens ein starker, zwei-
ald Tovey, favors such an analysis: 23
tens ein sanfter... ." However, these
From the so-called binary form originates
thematic conditions are superimposed
the sonata-form par excellence, that of the
on the usual harmonic substructure;
first movement of a sonata. From the so-
they represent a secondary level of
called ternary form originate all those sec-
organization, controlled by-andtional
not forms of music that begin with a
controlling-the harmonic aspects of
complete symmetrical melody. . ... Thus
the form.
the "ternary" type underlies the rondo.
From the evidence given above, it
Marx takes issue with the usual bi-
seems clear that in the classic era,
form was conceived primarily in division favored by his con-
partite
terms of key relationships. Thetemporaries
es- and argues as follows
for a three-part form:24
sential parts of an allegro form were
key areas, disposed in the following
Dem gew6hnlichen Sprachgebrauche nach
manner:
erkennt man nur zwei Theile der in So-
First section: natenform geschriebenen Tonstiicke an.
... Allein die Scheidung des zweiten und
i. Establishment of the first keydritten Theils ist . . . so wesentlich, dass
(area of the tonic) and transi-wir sie nicht iibergehen k6nnen, ohne die
tion to the second key; Anschauung der Form zu st6ren und ihren
2. Establishment of the second
Vernunftgrund aus den Augen zu ver-
key (second key area) and close
lieren. . . . Das waren ja aber die drei
therein; Theile mit der wesentlichen Abscheidung
des dritten vom zweiten....
17William Newman reports no such description
to be found in classic theoretical writings.
("The Recognition of Sonata-form by Theo- 2?School of Practical Composition, I,
rists of the Eighteenth and Nineteenth Cen- nAlexandre Choron, Manuel complet
turies," in Papers of the American Musicologi-sique (Paris, 1836-1838), Pt. II, Vol. III, p.
272.
cal Society, 1941, p. 2I.)
IsVersuch, III, p. 385. 22Musikalische Composition, p. 315.
"9Georg Joseph Vogler, Mannheimische Ton- 23Donald F. Tovey, Musical Articles from the
schule (Mannheim, I778), II, p. 62. I am in-Encyclopedia Britannica (London, 1944), p.
debted to Mr. William Newman for this refer- 209.
ence. 24Kompositionslehre, III, p. 221.

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164 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Due to the shift of emphasis from periodization is typically a classic
harmonic continuity to manipulation technique. Although periodic dance
of thematic material, sonata-form as forms occur in baroque music, the
written in Marx's time could be con- more usual constructive procedures
sidered tripartite. If so, a funda-
of the early i8th century are those of
mental distinction should then be
continuous unfolding, e.g., imitation,
made between classic forms and
the figured bass, cantus firmus-pro-
forms of later style periods.cedures
For that do not readily admit of
classic forms, it would be well to
symmetrical arrangement of motives
accept the suggestion of Tovey
andin
rhythms. This structural differ-
order to maintain a clear concep-
ence between baroque and classic is
tion of the harmonic nature of the reflected in corresponding theoretical
form and a proper perspective in
writings. Earlier I8th-century the-
regard to its history. orists have little, if anything, to say
Recently some theorists, notablyabout periodic structure. On the
Tovey and Schenker, have shownother hand, classic theorists show a
strong preoccupation with the sub-
preference for a harmonic interpre-
tation of sonata-form. Evidence from ject. Koch devotes the greater part
classic theoretical writings as shownof Volume II of his Versuch to the
above proves that this intuitive har-various methods by which periods
monic orientation has been histori- may be constructed; in Volume III
he is concerned principally with
cally sound. Since virtually every
classic movement in sonata-form is showing how periods may be
based upon the harmonic plan givengrouped to form complete move-
ments. Kirnberger,25 Kollmann,26
above, it is unnecessary to undertake
an analysis of key schemes. Of greaterMomigny,27 Choron,28 Callcott,29 and
other theorists recognize the period
interest and importance are the tech-
to be the basic constructive unit of
niques employed in the classic style
to establish large key areas. These musical composition.
techniques involve the interaction of Of particular interest is Momigny's
harmony with form at the level ofrather primitive description of form,
periodic structure. which is based upon a mechanical
regularity of periodization; yet
In classic music, periods are the Momigny states the premises upon
standard units of construction. A which classic composers based their
entire constructive technique, inso-
regular or normal period consists of
four to sixteen measures, is termi- far as rhythm is concerned. He
says: S0
nated by a marked caesura, and is ar-
ranged melodically, rhythmically,Un morceau se divise en plusieurs grandes
and harmonically so that one groupparties ou reprises; les reprises se divisent
of measures balances, repeats, an-en plusieurs grandes periodes contenant
swers, or contrasts with a precedingplusieurs stances; les stances ou couplets
se composent de plusieurs vers au nombre
group. Classic forms are built rhyth-
mically according to a series of in- de 2, 4, 6, ou 8; les vers ont deux parties
creasingly larger units. Moreover,ou h6mistiches, 6gaux ou inegaux;
2Johann Philipp Kirnberger, Die Kunst des 80p. cit., Pt. II, Vol. III.
reinen Satzes (Berlin, 177I), I, p. 91. "John Wall Callcott, A Musical Grammar
(i8o6).
"See note 31 below.
JOj. J. de Momigny, La Seule Vraie Theorie de
-See note 30o below. la musique (1821), p. 103.

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 HARMONIC ASPECTS OF CLASSIC FORM 165
chaqu'un h6mistiche se compose de plus-modulate, there is opposition of two
ieurs cadences ou pieds; les cadences sont
keys, rather than definition of one.
compos6es de deux notes si leur finale est
Still, the characteristic procedures of
masculine et de 3, si elle est feminine.
classic harmony--on one hand, alter-
Kollmann also sets forth the doctrine nation of functional harmonies at

of periodic organization as follows:'1 the beginning of the period; and on

the other hand, the emphatic cadence
. . compound rhythm, which is the con-
at the end of the period-project the
necting of 2, 3, 4, or more measures into
opposition of keys with clarity and
a rhythmicall period . . . from the above dramatic force.
compound rhythm there now arises double
compound rhythm, when two or more The scale of key definition be-
periods are united into a section or prin- comes greater when harmony op-
cipal part of a piece. And two or more sec- erates to expand the period beyond
tions, united, create triple compound its normal length. If, in the second
rhythm, or a whole piece. phrase of a period, the normal suc-
cession of harmonies does not ob-
Weber warns against carrying me- tain, but yields to a harmonic digres-
chanical regularity too far. He says:32 sion or an interrupted cadence, the
period will not come to an end at
Je weiter die Simmetrie des Rhythmus
getrieben wird, desto runder, glatter, und
the expected rhythmic point; there-
iiberschaulicher wird das Tonstiick . . . fore, the period must be extended in
order to achieve its definitive ca-
indessen darf diese Abrundung doch auch
nicht allzu weit getrieben werden. dence. The cadence being delayed, it
gains emphasis when finally sounded;
Periodization in classic music is
this emphasis is often brought about
by the use of a dominant extension
associated with a simple harmonic
or in
vocabulary, expressed primarily a dominant pedal. Extensions of
the period and emphasis on the ca-
complementary relationships of tonic,
dominant, and subdominant har- dence result in a broader and more
monies. Since these chords serve the dramatic projection of key. The in-
strongest functions in tonality, it fol-cidence of extended periods in mu-
lows that harmonic activity in clas-sic of the mature classic style is high,
sic music is concerned principallyin many cases comprising well over
with the clear and forthright state- half the periods in a movement. An
ment and confirmation of keys. Keyinstance of such an extended period
definition takes place within theis the first movement of the violin
period according to the followingconcerto of Beethoven [see ex-
general cycle: The period begins ample.] The deceptive cadence at
with an alternation of tonic with measure 28 initiates an extension of
dominant or subdominant harmonies,the period that ends at measure 43
with a broad authentic cadence pre-
indicating the key; within the period
light cadences and variants of pared
the by eight measures of dominant
prolongation. The period is thus
basic harmonies are used to explore
more than doubled in length and
the key; at the final caesura the key
is confirmed with emphasis bythe anreturn to D major is made much
authentic cadence, or perhaps a significant than if the period
more
had ended at measure 28.
strong half-cadence. In periods that
SxKollmann, An Essay on Musical Harmony
"SVersuch einer geordneten Theorie der Ton-
(London, 1796), p. 85. setzkunst, II, p. 1o3.

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166 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

The effect of extended periods was melodischen Theile gewbhnlich mehr an

known to classic theorists. Kollmann einander hingen, und stirker fortstr6m-
men, als in den Perioden anderer Ton-
describes an excerpt from Haydn as
stiicke, das ist, sie werden dergestalt zusam-
being33 "one of those fancy periods
men gezogen dass ihre Absatze minder
of some extended length in which thefiihlbar werden.
composer seems to lose himself in the
modulation for the purpose of mak- In brief, Koch makes the distinction
ing the ear attentive to the resolu-
between normal and extended peri-
tion." In a movement that consists ods, assigning the latter to one of the
primarily of extended periods, ca-
grand media of the classic style, the
dences are widely spaced so thatsymphony.
a
great number of differing motives Since the period stands as a unit
and phrases may be drawn into the
within a larger structure, it follows
harmonic orbit of a single long
that the key it projects will stand as

Violin Concerto, First Movement

BEETHOVEN

Allegro im rum tropp.

1 11~sF~e~F~LLW
ii00
28 ka~

---,AdF-U -1 L - P W =

1 ' If -14 - - * --.

7 Yr J L i' I ? ,,, i I 1 'Ii iL IE l ii iI ' L
period. Koch a clear point
was of reference
awarein a larger
of construction and considered the
scheme of keys, involving a number
difference between shorter and of periods. It is due to the presence
longer periods to be of stylisticof periodic structure that classic so-
sig-
nificance. He says:34 nata-form is able to define and op-
pose keys effectively on a broad
IDer Bau dieses [sic] Perioden, (so wie Thus the opposition of tonic
scale.
auch der iibrigen Perioden der Sinfonie)and dominant in the exposition can
unterscheidet sich von dem Periodenbaue
der Sonate und des Concerts nicht durch
be expressed, and the dimensions as
well as the contour of the great clas-
andere Tonarten, in welchem man dabeysic sonata-form be established.
modulirt, nicht durch eine ihm eigen-
thiimliche Folge oder Abwechslung der
Grund- oder Quintabsdtze, sondern da- To summarize: (i) Sonata-form is
durch, dass i) die melodischen Theile des-a key-area form; the key-area scheme
selben schon bey ihrer ersten Darstellungis common to virtually all sonata-
mehr erweitert zu seyn pflegen, als in forms; (2) theorists of the classic
andern Tonstiicken, und 2) dass diese era present this view; (3) through
33Kollmann, Harmony, p. 84. '4Koch, Versuch, III, p. 305.

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 HARMONIC ASPECTS OF CLASSIC FORM 167
classic style. Indeed, much of the
the action of functional harmony
within and upon periodic structure appeal of the classic style lies in its
large key-areas are built up; there-themes and in the imaginative ways
they are treated. Thematic state-
fore (4) classic style, which creates
its forms through the juxtaposition ments clarify and give profile to
of key areas, is made possible by the
their respective keys, while motivic
specific action of classic harmony.development gives inner strength and
This study has covered only part cogency to periodic structures. But
of the general question of classic underlying the construction, order,
style and form. It has endeavored and
to behavior of all melodic material
in classic music are the characteris-
define, on the basis of theoretical evi-
dence, some of the principles upon
tic harmonic and periodic formulas.
which the more manifest aspects Classic
of theorists described structure
classic music are based. The criticism by these formulas and it would be
of the thematic approach to sonata-well for present-day theory to in-
form with which this article begins is corporate this approach in its analy-
not to be construed as a denial of the sis.
importance of thematic elements in Stanford University

APPENDIX

(Theoretical works of the later I8th and early

19th centuries dealing with musical form)

Albrechtsberger, Johann Georg. Griind- uel complet de musique vocale et in-

liche Anweisung zur Komposition. Leip-
zig, 1790.
Antoniotto, Giorgio. L'arte armonica. Lon-
don, 1760 (English tr.)
Asioli, Bonifacio. Dialoghi sul trattato
d'armonia. Milan, 1814.
.-. . II maestro di composizione. Milan,
I832.
Avison, Charles. Essay on Musical Expres-
sion. London, 1775.
Berton, Henri-Montan. Traitd d'harmonie.
Paris, I81.5
Callcott, John Wall. A Musical Grammar.
London, i8o6.
Castil-Blaze, Frangois Henri. Dictionnaire
de musique moderne. Paris, 1828.
strumentale. Paris, i836-1838. 4 vols.
Forkel, Johann Nikolaus. Ueber die The-
orie der Musik. G6ttingen, 1777.
Gretry, Andre. Mimoires ou Essais sur la
musique. Paris, 1797. 3 vols.
Kirnberger, Johann Philipp. Die Kunst
des reinen Satzes. Berlin, 1771.
. Methode Sonaten aus'm Ermel zu
schiiddeln. Berlin, i783.
Knecht, Justin Heinrich. Elementarwerk
der Harmonie. Munich, 1814.
Koch, Heinrich Christoph. Versuch einer
Anleitung zur Composition. Leipzig,
1782-1793. 3 vols.
. Musikalisches Lexikon. Frankfurt,
1802.

Catel, Charles-Simon. Traitd d'harmonie. Kollmann, August F. C. An Essay on Mu-

Paris, I8oI.
Czerny, Carl. School of Practical Com-
position. London, 1848. 3 vols. (tr.
Bishop.)
Choron, Alexandre Etienne. Principes de
composition des e'coles d'ltalie. Paris,
I8o8. 3 vols.
- (with J. Adrian de Lafage.) Man-
sical Harmony. London, 1796.
. An Essay on Practical Musical
Composition. London, i799.
Lichtenthal, Peter. Dizionario e bibliogra-
fica della musica. Milan, 1826-1836. 4 vols.
Lingcke, Georg Friedrich. Die Sitze der
musikalischen Hauptsdtze. Leipzig, 1766.
L6hlein, Georg Simon. Georg Simon

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All use subject to http://about.jstor.org/terms
168 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
Ldhleins Clavier-Schule. Leipzig, 1781- musique. Paris, 1768. 2 vols.
1782. 2 vols. Scheibe, Johann Adolph. Ueber die mu-
Logier, John B. A System of the Science of sicalische Composition. Leipzig, 1773.
Music and Practical Composition. Lon- Schneider, J. C. F. Elementarbuch der
don, 1827. Harmonie und Tonsetzkunst. Leipzig,
Momigny, J6r6me-Joseph de. Cours com- i82o.
plet d'harmonie et de composition. Paris,Seyfried, Ignaz von, ed. Ludwig van Bee-
i8o6. 3 vols. thoven's Studien im Generalbasse, Con-
. La Seule Vraie Theorie de la trapuncte und in der Compositionslehre.
musique. Paris, i82x. Vienna, I832.
Portmann, Johann Gottlieb. Leichtes Lehr-Georg. Allgemeine The-
Sulzer, Johann
buch der Harmonie. Darmstadt,orie 1789.
der schdnen Kiinste. Leipzig, i777-
Quantz, Johann Joachim. Versuch 1779. 4einer
vols.
Anweisung die Fldte traversiere zu Tiirk, Daniel Gottlob. Klavierschule. Leip-
spielen. Berlin, 1752. zig, 1802.
Reicha, Anton. Traite' de haute composi- Vogler, Georg Joseph. Mannheimer Ton-
tion musicale. Paris, 1824. 2 vols. schule. Mannheim, 1778. 2 vols.
Riepel, Joseph. Anfangsgriinde zur musi- Weber, Gottfried. Versuch einer geord-
kalischen Setzkunst. Vienna, 1752. neten Theorie der Tonsetzkunst. Mainz,
Rousseau, Jean-Jacques. Dictionnaire de la 1830o. 4 vols.

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