Hepokoski and Darcy's Haydn. Ludwig, A. Haydn: Online Journal of the Haydn Society of North America, 2(2):1–27, 2012. abstract bibtex In their massive book Elements of Sonata Theory, James Hepokoski and Warren Darcy frequently allude to or explicitly detail Joseph Haydn's well- known proclivity for using humor and wit. By constantly qualifying Haydn's music as witty or humorous, they succeed only in marginalizing both Haydn and his music. But given Haydn's status and influence as a composer in the late eighteenth century, this marginalization, historically speaking, hardly seems accurate. I propose two modifications that will enhance the overall effectiveness of Hepokoski and Darcy's theory, particularly as it relates to Haydn's compositional practices, and thereby soften the theory's current marginalization of Haydn. First, extracting the concept of "deformation" entirely and replacing it with a lower-level default will allow the direct examination of defaults between composers instead of juxtaposing defaults and deformations. Second, reconfiguring the foundational binary opposition from "two-part" or "continuous" expositions to those "with" or "without" medial caesuras will effectively open for consideration the previously excluded "three-part" exposition, a structural type prominent in Haydn's works. These two changes will help Hepokoski and Darcy's sonata theory to more fair-mindedly consider Haydn's music, thereby reshaping their theory into a more versatile, robust, and historically faithful tool.
@Article{ ludwig2012-hepokoski,
author = {Ludwig, Alexander},
year = {2012},
title = {Hepokoski and Darcy's Haydn},
abstract = {In their massive book Elements of Sonata Theory, James
Hepokoski and Warren Darcy frequently allude to or
explicitly detail Joseph Haydn's well- known proclivity
for using humor and wit. By constantly qualifying Haydn's
music as witty or humorous, they succeed only in
marginalizing both Haydn and his music. But given Haydn's
status and influence as a composer in the late eighteenth
century, this marginalization, historically speaking,
hardly seems accurate. I propose two modifications that
will enhance the overall effectiveness of Hepokoski and
Darcy's theory, particularly as it relates to Haydn's
compositional practices, and thereby soften the theory's
current marginalization of Haydn. First, extracting the
concept of "deformation" entirely and replacing it with a
lower-level default will allow the direct examination of
defaults between composers instead of juxtaposing defaults
and deformations. Second, reconfiguring the foundational
binary opposition from "two-part" or "continuous"
expositions to those "with" or "without" medial caesuras
will effectively open for consideration the previously
excluded "three-part" exposition, a structural type
prominent in Haydn's works. These two changes will help
Hepokoski and Darcy's sonata theory to more fair-mindedly
consider Haydn's music, thereby reshaping their theory
into a more versatile, robust, and historically faithful
tool.},
journal = {Haydn: Online Journal of the Haydn Society of North
America},
keywords = {music theory},
mendeley-tags= {music theory},
number = {2},
pages = {1--27},
volume = {2}
}
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