Subordinate Theme Research Articles

Family day care educators’ ability to support children’s mental wellbeing and the impact of COVID-19

The childcare setting is a critical environment to observe, and also influence, children’s mental wellbeing. However, little research has examined the experiences and ability of Australian family day care (FDC) educators in supporting children’s mental wellbeing. The present study aimed to explore how training, COVID-19, and partnerships influence FDC educators’ ability to promote children’s mental wellbeing. Seven FDC educators engaged in semi-structured interviews, and thematic analysis identified six themes. These were (1) more than a babysitter; (2) experience is the best teacher; (3) close and supportive relationships, which included a sense of exile as a subordinate theme; (4) it takes a village to raise a child; (5) fear and uncertainty; and (6) business and relational difficulties. The research suggests that support for FDC educators through adequate training and strong partnerships more effectively promotes children’s mental wellbeing.

From “Radical Blunders” to Compositional Solutions: A Form-Functional Perspective on Beethoven’s Early Eroica Continuity-Sketches

Beethoven’s sketches to his third symphony, the Eroica, have fascinated scholars since Nottebohm’s pioneering study of the Eroica Sketchbook in the late nineteenth century. More recently, Alan Gosman and Lewis Lockwood finished a complete transcription of the sketchbook, which has led to a resurgent interest in these sketches. In this article, I re-evaluate Beethoven’s approaches to composing the first movement of the Eroica symphony by reappraising two supposed problems with the first two exposition continuity-sketches. Contrary to prior studies, which have interpreted these reputed compositional problems as “failed experiments” or “radical blunders” (Tovey 1941, 80), I interpret them as compositional solutions. To reappraise Beethoven’s early sketches, I reconstruct his first two exposition continuity-sketches as if they were symphonic piano reductions, analyze their phrase structures, and perform them as if they were viable published pieces. I suggest that the sketches show Beethoven’s multiple innovative approaches for problematizing the normal rhetorical forces of the subordinate theme, which helps to elevate and further motivate the new lyrical theme planned for the development. By validating the first two sketches with the well-defined theory of formal functions (Caplin 1998, 2013), instead of critiquing them with traditional sonata theories, I offer new perspectives into Beethoven’s compositional process to the first movement of the Eroica symphony.

Apparent Type 2 Sonatas and Reversed Recapitulations in the Nineteenth Century

ABSTRACTIn a small number of sonata forms scattered across the nineteenth century, the development is followed immediately by a return of the subordinate theme, the main theme coming back only later or not at all. How to interpret these forms – often casually referred to as sonata forms with ‘reversed recapitulation’ – has been a topic of debate among theorists within the newFormenlehre. While some (e.g. Hepokoski and Darcy 2006, Smith 2019 and Hepokoski 2021) have argued against the ‘reversed recapitulation’ model and in favour of an understanding along the lines of the (eighteenth‐century) ‘type 2 sonata’, others (e.g. Wingfield 2008, Wingfield and Horton 2012 and Vande Moortele 2017) have problematised that position on historical and analytical grounds.This article weighs the arguments for and against the various positions, at once problematising the type 2 approach and arguing for a more restrictive application of the reversed recapitulation idea. Analyzing more and less familiar pieces by Mendelssohn (Octet, Op. 20/ii), Schumann (Symphony No. 4/iv), Martucci (Piano Trio Op. 62/iv), Hartmann (Piano Sonata Op. 34/iv) and Hummel (Piano Sonata Op. 106/iv), it develops ways of thinking about these forms that move beyond the dichotomy between type 2 and reversed recapitulation by introducing the categories of ‘main‐theme deletion’ and ‘development‐recapitulation fusion’.

Dvořák and Subordinate Theme Closure

Form theorists have shown increasing interest in applying the methodologies of Caplin and of Hepokoski and Darcy to sonata forms of the nineteenth century. Many of these efforts proceed under the assumption that late eighteenth-century norms continued to influence Romantic sonata form even in the face of nineteenth-century innovations. Vande Moortele contrasts this “negative” approach to an as-yet-unrealized “positive” theory that would derive its concepts directly from nineteenth-century music. A multipart strategy interrogates the positive methodology championed by Vande Moortele and such like-minded theorists as Horton and Wingfield. Examination of Horton’s recent analysis of Brahms’s First Symphony reveals the unacknowledged presence of classical norms casting a “negative” light—although an essential and beneficial one—on his presumably “positive” methodology. A corpus study of subordinate theme closure in Dvořák’s mature chamber music responds both to Horton’s interest in asynchrony between formal design and tonal structure and to his and Vande Moortele’s calls for expanding the range of composers included in these endeavors. Attention to a less studied composer betrays the persistent gravitational pull of classical conventions, in contrast to Horton’s and Vande Moortele’s argument that a Romantic-centered corpus would tend to diminish that pull. Detailed analyses of select Dvořák movements focus on subordinate theme closure but also embrace broader concerns, such as form-functional contrast among P, S, C, and coda; characteristics that signal end-of-the-beginning versus end-of-the-end functions for cadences; the interaction of tonal pairing and formal design; and Dvořák’s recapitulatory reinterpretations of his expositional strategies. The analyses illustrate limitations of corpus study as contrasted with close reading of individual movements. The close readings underscore the need to engage both circumpolar norms and progressive linear developments, even in music written in the last decades of the nineteenth century.

Diverging Subordinate Themes and Internal Transitions: Assessing Internal Modulations in Three‐Key Expositions

ABSTRACTRecent scholarship on the ‘three‐key exposition’ has drawn attention to its historical evolution, Schenkerian voice‐leading considerations and issues with cadences and internal ‘crises’ in Schubert's three‐key expositions. One question remains to be answered: How and where do composers get from the second key to the third? Using William Caplin's theory of formal functions to help classify those internal modulations, this paper will assess strategies employed in these unique expositional layouts. Using a range of works from Haydn to Tchaikovsky, a number of categories for such modulations are identified on the basis of their location within the relevant subordinate theme. These categories are then used to examine the nature of second modulations, and to adapt Caplin's theory to promote a clearer understanding of the harmonic richness and formal complexity of nineteenth‐century sonata style.

The Subordinate Theme in the First Movement of Schubert's "Unfinished" Symphony

This analytical vignette explores the internal formal organization of the subordinate theme in the first movement of Schubert's "Unfinished" Symphony, D. 759 (1822). Drawing both on Hepokoski and Darcy's sonata theory and on Caplin's theory of formal functions, it shows how the entire theme can be understood as a single large-scale sentence. It is further argued that the theme's specific formal organization, as well as the extent to which it does or does not open up to theories originally designed for the analysis of music from the classical era, is characteristic of works from this period in music history.

How medical students experience empathy training? An Interpretative Phenomenological Analysis. Results from the "Empathize with me, doctor!" project.

This article was migrated. The article was marked as recommended. The aim of this study was to investigate how a detailed experiential empathy training program was experienced by medical undergraduates. Twelve medical undergraduates completed a 60-hour, experiential, person-centered training, aiming at improving their empathic performance. After the completion of the training they were interviewed, using semi-structured interviews with open questions, while Interpretative Phenomenological Analysis (IPA) was used to extract the emerged themes. IPA revealed one superordinate theme, i.e. the training as opportunity for actualization, and two subordinate themes, i.e. change in relating with others and self-concept reconstruction through introspection. The first subordinate theme had two components: change in relating with others regarding professional relationships and change related to personal relationships. IPA of students' transcripts revealed that the training was experienced by the students, as an opportunity to introspect, to deal with the obstacles occurring in their encounters with their patients, as a chance to eavesdrop to their inner needs and as a chance to actualize their potential.

Learning to Heal from Those Who Know! The “Lived” Experience of a Peer Support Program for Adult Survivors of Childhood Trauma

ABSTRACTThis study explored the dual phenomenon of experiencing a peer support residential trauma program from the perspective of (a) a client, and (b) a facilitator. It sought both positive and negative subjective interpretations. Participants were former clients and current facilitators of the program. Data were collected through a focus group, and analyzed using interpretative phenomenological analysis. One superordinate theme, altruistic growth, overarched 2 subordinate themes. The first, modeling through respect, included subthemes of respect and hope and empowerment. The second subordinate theme, reciprocal model of care, encapsulated personal challenges such as facing the mirror, old demons, and burnout and breaking points. Conversely, participants mused on these challenges as opportunities for further healing through opportunities for self-nurturing and gratitude. Implications for treatment of adult survivors of childhood trauma are discussed. For facilitators, the program was seen as offering further personal reflection and a giving forward that was interpreted as altruistic growth.

Sonata Theory, Secondary Themes and Continuous Expositions: Dialogues with Form‐Functional Theory

ABSTRACTWith regard to the definition of secondary (or subordinate) themes within Classical‐style expositions, Sonata Theory and form‐functional theory proceed from different understandings of the style, role and structural purpose of such themes. From the more integrative standpoint of Sonata Theory, the form‐functional understanding, while logically tight, is insufficiently attentive to rhetorical, punctuational and thematic factors that also lie at the core of expositional practice in the second half of the eighteenth century. This article updates my thoughts on secondary‐theme definition in this era, underscoring once again the need for flexibility and musical sensitivity in the application of the ‘no MC, no S’ guideline. Along the way, I outline a broader historical argument to suggest that, beginning around 1750, the strategic introduction of an emphatic medial caesura (or punctuational ‘hard break’) into the centre of what we now call sonata expositions effectively and immediately divided any such exposition into two separate parts. Each of the two parts is usually subdivisible into two separate action‐zones, resulting in a de facto {P TR}’{S/C} pattern, each zone of which soon came to call for its own generically appropriate harmonic and thematic/rhetorical treatment. Under the zonal concept of expositional formatting (precipitated by the presence of an MC), the secondary theme is best construed as that characteristic, new theme that marks the post‐MC onset of the second part. Expositions without an interior MC present us with a different situation, one in which it can be counterintuitive – or at least analytically unnecessary – to posit the presence of a subordinate theme in the zonal sense: one need not presume that all mid‐expositional V:PACs are preceded by a subordinate theme. The article also considers how most productively to interpret a transition‐ending dominant‐lock leading to an MC and concludes by discussing how and why it is possible for a transition‐ending V:PAC to articulate an MC that then gives way to the onset of a characteristic secondary theme.

The ‘Continuous Exposition’ and the Concept of Subordinate Theme

ABSTRACTJames 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 the ‘sonata clock’ metaphor, first introduced by Hepokoski and Darcy, and show that our respective clocks have different ‘hour’ markers 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.

“Musical Form

[1] The Seventh International Conference on Music Theory, entitled Musical Form: Mapping the Territories, was jointly organized by the Estonian Academy of Music and Theater and the Estonian Arnold Schoenberg Society. It took place 8-11 January 2014 in the cities of Tallinn and Parnu.[2] The conference comprised thirty-eight regular papers,(1) three keynote addresses (by William Caplin and Nathan John Martin, James Hepokoski, and Steven Vande Moortele), and a roundtable in which Caplin, Martin, and Hepokoski were joined by Poundie Burstein and Peter H. Smith. Although this roster (and the conference's theme) might suggest a focus on common-practice repertoire, nearly half the papers pertained to music after 1900. The pre-1900 sessions were overwhelmingly dominated by scholars based in North America (72%, including keynotes), whereas the inverse was true of sessions on post-1900 music (75% by non-North Americans). The complete conference program and abstracts are available in the Appendix. I will discuss each part of the conference in turn, including some unifying themes common to both.I. MUSIC BEFORE 1900[3] The interpretation of what Sonata Theory regards as a continuous exposition constituted a central theme-or, perhaps better, a framing function-for the tonal portion of the conference, which opened with two keynotes, one by Caplin and Martin and the other by Hepokoski, and culminated in the roundtable discussion. Since Caplin's (1998, 2009) and Hepokoski-Darcy's (2006, 2009) theories have dominated studies of sonata form for over a decade, their relative positions are already well-enough known. Whereas Sonata Theory makes a fundamental distinction between expositions containing a medial caesura and those that do not (i.e. between two-part and continuous expositions, the latter understood to lack an S-zone), Caplin interprets a subordinate-theme function in all expositions, even those with a blurred boundary between (what he regards as) the transition and the subordinate theme.[4] Reviewing the announced program before the conference, some may have wondered whether devoting more than three hours to this well-trod territory would indulge partisans of each method to recapitulate their established positions or whether it would advance the collective state of knowledge.(2) But over the course of the proceedings, it became apparent that issues of continuous expositions and subordinate themes rewarded the renewed attention, since they touch directly on many of the most pressing questions about sonata-form practice, including (1) whether every exposition has a subordinate-theme function; (2) which cadences may signal the end of a passage designated transition; and (3) which musical parameters are truly form-defining (i.e., the relative role of harmonic syntax and surface rhetoric).(3)[5] The focus on continuous expositions placed a special spotlight on Haydn (discussed by Caplin, Martin, Hepokoski, amongst others),(4) along with C. P. E. Bach (in papers by Wayne Petty and Tal Soker), and a variety of other composers active in the 1760s and 1770s (in Burstein's contribution). Earlier binary forms of J. S. Bach, characterized by a Fortspinnung technique related to continuous sonata expositions, were also addressed by Rowland Moseley and the author of this report. The finale of Haydn's String Quartet in B Minor, op. 33 no. 1 was a key example in Caplin-Martin's opening keynote, which focused on expositions whose transitions lack a functional end or (in their terms) whose subordinate themes lack a clear beginning.(5) The central section of the finale's exposition, measures 13-51, expresses a fusion of transition and subordinate-theme functions, in that the clear, tonic-key presentation of a compound basic idea is followed by a continuation phrase comprising a loose string of model-sequence statements that ultimately modulates to and achieves a PAC in the mediant. …

Formal Functions and Retrospective Reinterpretation in the First Movement of Schubert's String Quintet

AbstractThe first movement of Schubert's String Quintet, D. 956, is among the early nineteenth‐century repertoire's clearest examples of what Janet Schmalfeldt has called ‘form as the process of becoming’. In this article we show how the governing formal principle of the movement's exposition is the conflation of distinct and typically consecutive formal functions. The result is an extraordinary chain of form‐functional overlaps, requiring the analyst to engage in a process of constant retrospective reinterpretation that ends only with the unambiguous closing group. Our aim is not only to revisit some familiar analytical questions about Schubert's Quintet from a form‐functional perspective, but also to provide a test case showing the applicability of form‐functional thinking to early nineteenth‐century music. We begin by presenting a form‐functional overview and cadential plan of the exposition and then home in on three passages that pose particular analytical challenges: the introduction/main‐theme/transition complex (bars 1–59), the transition/subordinate‐theme complex (bars 60–100) and the closing‐group/subordinate theme complex (bars 100–138). The article concludes by proposing certain ways in which Schmalfeldt's idea of retrospective reinterpretation may be further refined.

Review of William Caplin,Analyzing Classical Form: An Approach for the Classroom(Oxford University Press, 2013)

[1] William Caplin's textbook, Analyzing Classical Form: An Approach for the Classroom, provides a new forum for his theory of formal organization in Classical compositions-one that is accessible to both undergraduate and graduate classrooms alike. Building on the foundations of Caplin's Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven, this much anticipated volume, like its predecessor, explicitly focuses on the style established by the composers of the high Classical period (1998, 3); 2013, xv). Prior to these volumes, the ideas of Schoenberg (1967 and Ratz (1973)-Caplin's primary inspirations for his theory of formal functions-had appeared primarily within harmony textbooks.(1) This extraordinary new volume provides advanced undergraduates and graduates an opportunity to be exposed to his theories; it simultaneously taps into the intuitions of music theory students and provides a new vocabulary through which to communicate concepts of form and function.[2] The textbook is equipped with a masterfully designed companion website (found at http://www.music.mcgill.ca/acf) which organizes, by chapter, all of the musical and analytical examples (divided into two groups: examples for "study" and examples for "analysis," all of which omit the annotations provided in the main volume), supplementary work, and listening quizzes (accompanied by solutions). Each example corresponds with a singular audio file through which a user can conveniently find his/her place within the excerpt, on-demand. The compendium of musical examples is truly impressive, adequately representing the gamut of works in the high Classical period, ranging from Beethoven's Piano Sonata in BMajor, "Hammerklavier," op. 106 (341) to Mozart's Clarinet Trio in Emajor, K. 498 (501) and Haydn's "Razor" String Quartet op. 55, no. 2 (159).[3] The following review is divided into two parts. Section I provides a concise summary of the textbook's organization, goals, strengths, and weaknesses, along with a critical commentary on Chapters 1-6. The goals of Section II are two-fold: to draw comparisons to the 1998 volume and to comment upon the manner in which Caplin's ideas have been re-packaged for use in the classroom; additionally, due to the current volume's extensive exploration into sonata form, this section will provide a concise counterpoint to ideas enunciated in Hepokoski and Darcy's Elements of Sonata Theory (2006).I.[4] The book is divided into three primary sections. Following an introductory chapter, the first part, comprising seven chapters (2-8), includes the "principal theme types" in Classical form, building from sentences, periods, and hybrid structures to binary and ternary forms. The blockbuster Part II includes eight chapters (9-16, and 304 out of 698 pages of the main text), treating each of the main sections of the sonata: three sections within the exposition (main theme, transition, and subordinate theme), development, recapitulation, and coda. Finally, Part III (comprising chapters 17-20) considers other full-movement forms: "slow-movement," minuet-and-trio, rondo, and concerto, although this part is significantly shorter than the preceding two.[5] The top-down organization of each chapter is intuitive and pedagogically sound; each one initially provides the student with the distinguishing features of the new formal type,(2) after which the student then experiences the new topics with a short series of questions based on a motivating example (under the subheading of "Let's Practice"). Having laid the foundation, the remaining subsections of each chapter provide a more in-depth exploration ("More Details" and "Final Points") followed by a set of review questions and additional unannotated excerpts for further analysis. This progression of topics for each chapter is valuable, as it not only makes a clear distinction between the "norms" and "exceptions," but also allows a user to choose how far to explore a given chapter. …

Two-Part Transition or Two-Part Subordinate Theme?

In William Caplin’s Classical Form (1998), the ending of a sonata-form exposition’s two-part transition and a two-part subordinate theme’s internal cadence share the same harmonic goal: the new key’s dominant. In this article, the author contends that the choice between the two is not as clear-cut as Caplin suggests, arguing that the functional role of these passages should be read within the context of the entire sonata movement, rather than on more localized analytical interpretations of the sonata’s sections taken in isolation. Two works are discussed: the first movement of Beethoven’s Piano Sonata op. 2, no. 3, and the first movement of the Piano Sonata op. 10, no. 2.

Being Human and Christian in a Darwinian World: An Appreciation of Józef Życiński

I AM HONORED TO PARTICIPATE in a symposium dedicated to the intellectual work of a unique Churchman, intellectual, and interpreter of science, whose premature passing is a deep loss to the Catholic and general intellectual world. (1) Over the years in the course of his visits to the University of Notre Dame and through other contacts, I came to appreciate the importance of Archbishop Jozef Zycinski's work as a philosopher of contemporary science, an informed spokesperson on the complexities of the theology and science interface, and a commentator on many contemporary issues created by the life sciences for Catholic thought. I was particularly drawn to his work on evolutionary theory, represented most substantially by his book God and Evolution: Fundamental Questions of Christian Evolutionism, a remarkably intelligent, deeply researched, and informed discussion of the wide range of issues surrounding Catholicism and evolutionary biology. (2) Some of these insights were then developed in a public address followed by an essay that may be his last publication on this topic, Evolutionary Theism and the Emergent Universe, delivered in November 2009 to the Notre Dame Conference, in the 21st Century, one of the final international colloquia dedicated to the 200th anniversary of Darwin's birth and the 150th of the publication of On the Origin of Species. The address will be published in a special volume of papers from this conference now to be dedicated to Zycinski. I have also more recently been engaged with his reflections on modern biotechnology and the issues raised by such topics as stem-cell research. In his address to the Notre Dame conference, Zycinski ranged widely across a spectrum of issues, dealing in particular with the debates over chance, design, and in the post-Darwinian period, and the ways these problems had been misconceived in the popular and creation debates. Rather than explore these issues, however, my point of departure will be from a subordinate theme he also addressed, namely, the way in which humans can be related to and differentiated from the natural order, granting acceptance of an evolutionary picture of the human species. Following some remarks on my own approach to these questions, I will then discuss these issues in relation to the concept of an ontological leap as treated in the October 1996 Letter on Evolution to the Pontifical Academy of Sciences of Blessed Pope John Paul II. The final section will close with some issues raised in a late essay of Zycinski on biotechnology and the concept of human dignity. This article is not intended to question the general validity of the Darwinian theory of species transformism by natural selection, which I consider to be the best available scientific explanation of the origins and diversity of the organic forms we see around us. I am also concerned to engage with what John Haught has termed unedited Darwinian theory--Darwinian theory as accepted and discussed generally within the scientific community--rather than pursuing discarded alternative neo-Lamarckian, orthogenetic, and strong teleological evolutionary theories. (3) I also do not minimize the detailed debates that surround certain points of evolutionary theory at present, such as those surrounding the long-standing debate over the competence of natural selection alone to explain macro as well as micro evolution, or the disputes currently dividing traditional population-genetics interpretations of Darwinism and those emphasizing the importance of developmental genetics, morphological constraints, and organismic considerations in evolution, commonly now termed evodevo. (4) But it is not essential to my purpose that these intratheory disputes be adjudicated. My concern is to generate some new lines of reflection on the important question that makes the issue of evolution interesting--what does it really have to do with human beings as we now find them? …

Haydn's Missing Middles

ABSTRACTHaydn's play on expectations and conventions and his deliberate grammatical mistakes are well‐known. Yet one notable syntactic irregularity to be found in his music has been overlooked: the use of a sentential theme which lacks the first half of the continuation phrase (to use the terms of William E. Caplin's functional theory of Classical form). This type of theme moves straight from its presentation phrase to its cadential progression, so there is no pre‐cadential section of the continuation phrase which expresses a specifically medial function. Moreover, the theme's dimensions are irregular: its second part is only half the length of its first. Most cases of the ‘missing middle’ occur in the main themes of sonata allegros, the middle being supplied later in the movement, usually in the subordinate theme. These points are illustrated by brief analyses of the first movements of Symphony No. 85 and the Sonata Hob. XVI:21, and a longer analysis of the first movement of the Sonata Hob. XVI:49.

‘First, Do No Harm’: Factors that Influence Pharmacists Making Decisions about Over-the-Counter Medication

Little is known about how community pharmacists make decisions about which over-the-counter (OTC) medication to supply to a patient and the role of clinical evidence in making those decisions. To explore factors that influence product selection by the pharmacist and the role of evidence-based practice in this decision. In this qualitative study, community pharmacists registered in Northern Ireland and recruited via advertising and various qualitative sampling techniques, participated in face-to-face, semi-structured interviews (June 2007-September 2007) to discuss issues around OTC medication, including the use of evidence, how they judged a product to be effective, and their views on evidence-based medicine and its application to OTC medication. All interviews were digitally recorded, fully transcribed and analysed using the principles of constant comparison. Twenty-six pharmacists participated in interviews. Safety was the over-arching consideration for pharmacists when making decisions. The subordinate themes were product, patient and professional factors. In terms of the product subordinate theme, use or consideration of evidence was secondary in the selection of OTC medicines. Pharmacists considered the potential for harm in the first instance and if the product was deemed safe, although lacking any evidence for effectiveness, the product was supplied. In relation to patient factors, it emerged that pharmacists were influenced by patient demand for a particular OTC product and wanted to meet patient expectations, provided that the requested product was judged to be safe. Similarly, professional factors such as ethical considerations (primarily in relation to safety) and respecting patient choice also influenced decision making. However, pharmacists recognized the conflict between professional requirements to practise according to evidence-based principles and patient demands. This study suggests that pharmacists considered safety above all other factors when recommending OTC products to patients, and evidence of effectiveness was seldom considered when selling OTC medicines. If evidence-based practice is to influence this type of decision, pharmacists need to use the evidence that is available and be prepared to discuss evidence with patients.

Vladimir Putin on Raising Russia's Birth Rate

Vladimir Putin on Raising Russia's Birth Rate

Formal Structure and Functional Qualities in the First Movement of Bartók's Violin Sonata No. 1 (1921)

In his analysis of the first movement of Bartok's Violin Sonata No. 1, Paul Wilson suggests that, in finding 'analogues or alternatives for the large sections and processes of sonata form', Bartok draws on a nineteenth-century model in which the character and function of the development section are radically changed. Further, he notes that, in the absence of the tonal system, there is no possibility of heightening harmonic tension in the development section through remotely transposed motives or themes, and that the varied and complex embellishment of themes in the exposition precludes the possibility of similar treatment in the development section. One result, Wilson adds, is that the recapitulation 'loses a good deal of its dramatic force as a return and a release of large-scale tension', as it 'becomes a third statement of the exposition material in yet another version'.1 In this article, I use the first movement of Bartok's Violin Sonata No. 1 to demonstrate how we might look at, and listen to, sonata form in ways that restore some of its vitality as a dynamic, processive design. In the absence of the tonal system and all of its controlling forces in the articulation of sonata design, we can surely do more than dismiss pieces allegedly in sonata form as merely statement, development and restatement at best, or as statement, varied restatement and yet another varied restatement at worst. In many analyses of twentieth-century sonata forms, the term 'sonata' is mentioned in such apologetic terms that it makes one wonder if it is not the conception of sonata form itself, and not the pieces to which that (often) crude, lifeless and seemingly anachronistic conception is applied, that is faulty and problematic.2 The view of sonata form outlined here is one that employs traditional formal designations typical components such as principal theme, subordinate theme, and so onbut also, and perhaps more importantly, what I term 'functional qualities'. While the former are components of objective status with a relatively fixed identity, the latter are modifiers attached to formal components and are frequently heard to change over the course of a particular formal component, or to interact with other functional qualities during the course of such a unit. In short, functional qualities are much more fluid and, consequently, are more accurate in reflecting the rhetorical quality at any given time during a formal component and especially in reflecting changes of rhetorical properties over