@Article{          caplin.ea2016-continuous,
    author       = {Caplin, William Earl and Martin, Nathan John},
    year         = {2016},
    title        = {The Continuous Exposition and the Concept of Subordinate
                   Theme},
    abstract     = {James Hepokoski and Warren Darcy's Sonata Theory promotes
                   a fundamental distinction between sonata expositions that
                   are either two-part or continuous. We contend that this
                   binary opposition misconstrues the commonality of formal
                   procedures operative in Classical sonata form. Advocating
                   a form-functional approach, we hold that all sonata
                   expositions contain a subordinate theme (or at least
                   sufficient functional elements of such a theme), even if
                   the boundary between the transition and subordinate theme
                   is obscured. We illustrate three categories of such a
                   blurred boundary: (1) the transition lacks a functional
                   ending but the subordinate theme still brings an
                   initiating function of some kind; (2) the transition ends
                   normally but the subordinate theme lacks a clear
                   beginning; and (3) the transition lacks an ending and the
                   subordinate theme lacks a beginning, thus effecting a
                   complete fusion of these thematic functions. We extend
                   these considerations to another formal type - minuet form
                   - in order to place the technique of fusion as it arises
                   in sonata-form expositions in a broader perspective. In
                   further comparing a theory of formal functions to Sonata
                   Theory, we invoke thesonata clockmetaphor, first
                   introduced by Hepokoski and Darcy, and show that our
                   respective clocks have differenthourmarkers and run at
                   different speeds. We conclude by examining some of the
                   main conceptual differences that account for the divergent
                   views of expositional structures offered by Sonata Theory
                   and a theory of formal functions, arguing against the
                   former's claim that the medial caesura is a necessary
                   condition for the appearance of a subordinate theme.},
    doi          = {10.1111/musa.12060},
    issn         = {02625245},
    journal      = {Music Analysis},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    number       = {1},
    pages        = {4--43},
    volume       = {35}
}

{"_id":"EMaGzgegXw6redawP","bibbaseid":"caplin-martin-thecontinuousexpositionandtheconceptofsubordinatetheme-2016","authorIDs":[],"author_short":["Caplin, W. E.","Martin, N. J."],"bibdata":{"bibtype":"article","type":"article","author":[{"propositions":[],"lastnames":["Caplin"],"firstnames":["William","Earl"],"suffixes":[]},{"propositions":[],"lastnames":["Martin"],"firstnames":["Nathan","John"],"suffixes":[]}],"year":"2016","title":"The Continuous Exposition and the Concept of Subordinate Theme","abstract":"James Hepokoski and Warren Darcy's Sonata Theory promotes a fundamental distinction between sonata expositions that are either two-part or continuous. We contend that this binary opposition misconstrues the commonality of formal procedures operative in Classical sonata form. Advocating a form-functional approach, we hold that all sonata expositions contain a subordinate theme (or at least sufficient functional elements of such a theme), even if the boundary between the transition and subordinate theme is obscured. We illustrate three categories of such a blurred boundary: (1) the transition lacks a functional ending but the subordinate theme still brings an initiating function of some kind; (2) the transition ends normally but the subordinate theme lacks a clear beginning; and (3) the transition lacks an ending and the subordinate theme lacks a beginning, thus effecting a complete fusion of these thematic functions. We extend these considerations to another formal type - minuet form - in order to place the technique of fusion as it arises in sonata-form expositions in a broader perspective. In further comparing a theory of formal functions to Sonata Theory, we invoke thesonata clockmetaphor, first introduced by Hepokoski and Darcy, and show that our respective clocks have differenthourmarkers and run at different speeds. We conclude by examining some of the main conceptual differences that account for the divergent views of expositional structures offered by Sonata Theory and a theory of formal functions, arguing against the former's claim that the medial caesura is a necessary condition for the appearance of a subordinate theme.","doi":"10.1111/musa.12060","issn":"02625245","journal":"Music Analysis","keywords":"music theory","mendeley-tags":"music theory","number":"1","pages":"4–43","volume":"35","bibtex":"@Article{ caplin.ea2016-continuous,\n author = {Caplin, William Earl and Martin, Nathan John},\n year = {2016},\n title = {The Continuous Exposition and the Concept of Subordinate\n Theme},\n abstract = {James Hepokoski and Warren Darcy's Sonata Theory promotes\n a fundamental distinction between sonata expositions that\n are either two-part or continuous. We contend that this\n binary opposition misconstrues the commonality of formal\n procedures operative in Classical sonata form. Advocating\n a form-functional approach, we hold that all sonata\n expositions contain a subordinate theme (or at least\n sufficient functional elements of such a theme), even if\n the boundary between the transition and subordinate theme\n is obscured. We illustrate three categories of such a\n blurred boundary: (1) the transition lacks a functional\n ending but the subordinate theme still brings an\n initiating function of some kind; (2) the transition ends\n normally but the subordinate theme lacks a clear\n beginning; and (3) the transition lacks an ending and the\n subordinate theme lacks a beginning, thus effecting a\n complete fusion of these thematic functions. We extend\n these considerations to another formal type - minuet form\n - in order to place the technique of fusion as it arises\n in sonata-form expositions in a broader perspective. In\n further comparing a theory of formal functions to Sonata\n Theory, we invoke thesonata clockmetaphor, first\n introduced by Hepokoski and Darcy, and show that our\n respective clocks have differenthourmarkers and run at\n different speeds. We conclude by examining some of the\n main conceptual differences that account for the divergent\n views of expositional structures offered by Sonata Theory\n and a theory of formal functions, arguing against the\n former's claim that the medial caesura is a necessary\n condition for the appearance of a subordinate theme.},\n doi = {10.1111/musa.12060},\n issn = {02625245},\n journal = {Music Analysis},\n keywords = {music theory},\n mendeley-tags= {music theory},\n number = {1},\n pages = {4--43},\n volume = {35}\n}\n\n","author_short":["Caplin, W. E.","Martin, N. 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