The Lyrical Themes of Neukomm’s Piano Sonata in G (1819)

Authors

  • L. Poundie Burstein Hunter College and the Graduate Center, CUNY

DOI:

https://doi.org/10.52930/mt.v6i2.199

Abstract

Determining the location of the secondary theme group within a Classical sonata-form exposition relies on taking into account the interplay of disparate musical elements. In situations where these elements do not neatly correlate with each other, analytic disputes can arise concerning the precise location of the secondary theme. Analysis of the first movement of Sigismund Neukomm’s Piano Sonata for G helps highlight the issues regarding this matter. Appealing to eighteenth-century approaches to musical form, in conjunction with more modern concepts, sheds light on this movement’s form and stylistic context, as well as on the nature of the secondary theme group in general.

Author Biography

L. Poundie Burstein, Hunter College and the Graduate Center, CUNY

L. Poundie Burstein is Professor of Music Theory at Hunter College and the Graduate Center of the City University of New York. He has also taught at Mannes College, Columbia University, Queens College, and held an endowed chair at University of Alabama in 2010. In 1995 he received the Distinguished Teaching Award from the New School University, and in 2008 he received the Outstanding Publication Award of the Society of Music Theory (SMT). He is a former President of the Society for Music Theory.

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Published

2022-06-17

Issue

Vol. 6 No. 2 (2021): August–December

Section

Artigos