Abstract
International Conference on Musical Form Durham University, 21–23 June 2021
Highlights
In her paper ‘Do Musical Forms Migrate? – Aspects of the Popularization and Distribution of the Small Rounded Two/Three-Part Form in Europe of the 18th Century’ – which is a part of a larger corpus study dedicated to Viennese music – Beate Kutschke (Universität Salzburg) offered a possible musical link between the cultural centres of London and Vienna
Kutschke argued that SRTTF, which were immensely popular in collections of folksong, popular song, dance and ballad opera published in 1710s–1760s London, later inspired similar formal conventions in instrumental works of the so-called Viennese classical style
Eighteenth‐Century Music 105 theories on colour, provided a thought-provoking criticism of the potentially misleading, and possibly redundant, terminologies used in both William Caplin’s formal-function theory and in James Hepokoski and Warren Darcy’s sonata theory. He proposed a set of eight types of sentences, eight categories of clauses and eight phrase types, which, he argued, could help make music analysis more lucid and intuitive
Summary
In her paper ‘Do Musical Forms Migrate? – Aspects of the Popularization and Distribution of the Small Rounded Two/Three-Part Form in Europe of the 18th Century’ – which is a part of a larger corpus study dedicated to Viennese music – Beate Kutschke (Universität Salzburg) offered a possible musical link between the cultural centres of London and Vienna. The conference, supported by the Society for Music Analysis Formal Theory Study Group, included ten sessions, two keynote talks, a poster session and a roundtable. In his eloquent paper ‘The Sonata-Fugue Hybrid in Haydn’s Early Symphonies’ Carl Burdick (University of Cincinnati College-Conservatory of Music) put forward a fresh reading of Haydn’s use of fugal strategies in his early symphonies, focusing on No 3 (c1760–1762) and No 40 (1763).
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