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Luigi Boccherini 1743-1805

This site contains bibliographies of selected recent scholarly literature concerning European art music of ca. 1740-1810, focusing particularly on the music of Luigi Boccherini and Franz Joseph Haydn. I do not claim any degree of completeness here; I simply cite those items of significant scholarly interest of which I am aware, with emphasis on recent publications.


Recent Boccherini Literature

Recent Literature on Joseph Haydn

Recent Literature on Johann Michael Haydn



Some Links of Interest


Society for Eighteenth-Century Music

Luigi Boccherini: Opera Omnia

Boccherini in the Movies

Haydn Society of North America

The Haydn Society of Great Britain

American Musicological Society

Mozart Society of America

American Beethoven Society

Beethoven Gateway (formerly the Beethoven Bibliography Database)

Angelfire: Create your own free web site



Some Recent Articles

Selected journal articles in English concerning music of the classical period that have appeared in recent years


Mozart


Arthur, John. “Mozart’s ‘V’amo di core teneraamente’ K. 348 (382g): A Case of Mistaken Chronology.” Musical Times 150 (Spring 2009), 33-44.

Baron-Woods, Kristina. “Bassa Selim: Mozart’s Voice of Clemency in Die Entführung aus dem Serail.” Musicological Explorations 9 (Spring 2008), 67-93.

______. “Strength and Defiance in the Seraglio: Coloratura and Characterization in Mozart’s Die Entführung aus dem Serail.” Music Research Forum 23 (2008), 27-51.

Beckerman, Michael. “Editorial: Turkicization and Rondology in Mozart’s Sonata in A Major, K. 331.” Eighteenth-Century Music 7 (2010), 5-8.

Beach, David. “Motivic Enlargement and Phrase Expansion: Illustrations from Two Works by Mozart.” Journal of Schenkerian Studies 3 (2008), 1-17.

Biba, Otto. “Da Ponte in New York, Mozart in New York.” Current Musicology 81 (2006), 109-121.

Bonds, Mark Evan. "Replacing Haydn: Mozart's 'Pleyel' Quartets." Music & Letters 88 (2007), 201-225.

Buch, David J. “Three Posthumous Reports Concerning Mozart in His Late Viennese Years.” Eighteenth-Century Music 2/1 (2005), 125-129.

Campbell, Carey. "Should the Soloist Play during the Tuttis of Mozart's Clarinet Concerto?" Early Music 38 (2010), 423-421.

Corneilson, Paul. “A Context for Mozart’s French Ariettes: The Wendling Family and Friedrich Schiller’s Kabale und Liebe.” Current Musicology 81 (2006), 53-72.

Edgecombe, Rodney Stenning. "K. 332 and Swan Lake: Two Points of Contact." Musical Times 150 (Summer 2009), 83-95.

Freyhan, Michael. "Mozart's Text Setting in the Magic Flute." Acta musicologica 83 (2011), 245-259.

Gagné, David W. “A Dialogue among Equals: Structural Style in Mozart’s ‘Haydn’ Quartets.” Studi musicali 37 (2008), 503-527.

Gjerdingen, Robert O. "Mozart's Obviously Corrupt Minuet." Music Analysis 29 (2010), 61-82.

Goehring, Edmund J., Jr. “Much Ado About Something, or, Così fan tutte in the Romantic Imagination: A Commentary on and Translation of an Early Nineteenth Century Epistolary Exchange.” Eighteenth-Century Music 5 (2008), 75-105.

Gudesblatt, Melanie. “Don Giovanni: A Rake for All Seasons.” Nota Bene: Canadian Undergraduate Journal of Musicology 1 (November 2008), 29-42.

Irvine, Thomas. “The Foundations of Mozart Scholarship.” Current Musicology 81 (2006), 7-52.

Irving, John. “Listening Again and Again: Mozart’s Music in Niemetschek’s ‘Life.’” Ad Parnassum 6/11 (2008)

Ivanovich, Roman. "Showing Off: Variation in the Display Episodes of Mozart's Piano Concertos." Journal of Music Theory 52 (2008), 181-218.

______. "Recursive/Discursive: Variation and Sonata in the Andante of Mozart's String Quartet in F, K. 590." Music Theory Spectrum 32 (2010), 145-164.

Karna, Duane R. “Mozart’s Three Settings of Regina Coeli.” American Choral Review 48/2 (Summer/Fall 2006), 1-6.

Keefe, Simon P. "'Die Ochsen am Berge': Franz Xaver Süssmayr and the Orchestration of Mozart's Requiem, K. 626." Journal of the American Musicological Society 61 (2008), 1-65. Cf. Colloquy response, Journal of the American Musicological Society 61 (2008), 583-608.

______. “‘We Hardly Knew What We Should Pay Attention to First’: Mozart the Performer-Composer at Work on the Viennese Piano Concertos.” Journal of the Royal Musical Association 134 (2009), 185-242.

Kinderman, William. “A Tale of Two Quintets: Mozart’s K. 452 and Beethoven’s Op. 16.” In Variations on the Canon: Essays on Music from Bach to Boulez in Honor of Charles Rosen on His Eightieth Birthday, ed. Robert Curry, David Gable, and Robert L. Marshall, 55-77. Rochester: University of Rochester Press, 2008.

Kramer, Elizabeth. “The Idea of Transfiguration in the Early German Reception of Mozart’s Requiem.” Current Musicology 81 (2006), 73-107.

Kramer, Richard. “The Fugal Movement: On a Few Bars in Mozart’s Quintet in C Major, K. 515.” In Variations on the Canon: Essays on Music from Bach to Boulez in Honor of Charles Rosen on His Eightieth Birthday, ed. Robert Curry, David Gable, and Robert L. Marshall, 39-54. Rochester: University of Rochester Press, 2008.

Link, Dorothea. “The Fandango Scene in Mozart’s Le nozze di Figaro.” Journal of the Royal Musical Association 133 (2008), 69-92.

Lütteken, Laurenz. “Negating Opera through Opera: Così fan tutte and the Reverse of the Enlightenment.” Eighteenth-Century Music 6 (2009), 229-241.

McKee, Eric. “Mozart in the Ballroom: Minuet-Trio Contrast and the Aristocracy in Self-Portrait.” Music Analysis 24 (2005), 383-434.

Melamed, Daniel R. “Counterpoint in Mozart’s Die Entführung aus dem Serail.” Cambridge Opera Journal 20 (2008), 25-51.

Mikusi, Balázs. "The G Minor Minuet of Mozart's 'Haffner' Serenade: Yet Another Musical Joke?" >i>Musical Times 147 (Winter 2006), 47-55.

Mirka, Danuta. “The Cadence of Mozart’s Cadenzas.” Journal of Musicology 22 (2005), 292-325.

Nedbal, Martin. "Mozart as a Viennese Moralist: Die Zauberflöte and Its Maxims." Acta musicologica 81 (2009), 123-157.

Ridgewell, Rupert. “Biographical Myth and the Publication of Mozart’s Piano Quartets.” Journal of the Royal Musical Association 135 (2010), 41-114.

Rumph, Stephen. "Mozart's Archaic Endings: A Linguistic Critique." Journal of the Royal Musical Association 130 (2005), 159-196.

Solomon, Maynard. “Who Wrote Hermann Abert’s W. A. Mozart?” Journal of Musicology 25 (2008), 318-337.

Suurpää, Lauri. "Form, Structure, and Musical Drama in Two Mozart Expositions." Journal of Music Theory 50 (2006), 181-210. K. 550, K. 516.

Woodfield, Ian. "Mozart's 'Jupiter': A Symphony of Light?" Musical Times 147 (Winter 2006), 25-46.

See also Dorothea Link and Judith Nagley, eds., Words about Mozart: Essays in Honour of Stanley Sadie. Woodbridge: Boydell, 2005.

English article in Mozart-Jahrbuch 2011:

Simon P. Keefe, "Mozart's Requiem and Nineteenth-Century Fiction," 119-140.

Beethoven


Agawu, V. Kofi. “Beethoven’s Op. 18 No. 3, First Movement: Two Readings, with a Comment on Analysis.” In Communication in Eighteenth-Century Music, ed. Danuta Mirka and Kofi Agawu, 230-253. Cambridge: Cambridge University Press, 2008.

Bakker, Twila. “Tied Up with Strings: Untangling the Rhythmmic Complexities of the Second Movement of Beethoven’s String Quartet No. 16, Op. 135.” Musicological Explorations 12 (2011), 41-76.

Barry, Barbara. "In Beethoven's Clock Shop: Discontinuity in the Opus 18 Quartets." Musical Quarterly 88 (2005), 320-337.

Bowden, Sylvia. “The Theming Magpie: The Influence of Birdsong on Beethoven Motifs.” Musical Times 149 (Summer 2008), 17-35.

______. “‘A Union of Souls’: Finding Beethoven’s ‘Distant Beloved.’” Musical Times 150 (Winter 2009), 71-94.

Burstein, L. Poundie. “The Off-Tonic Return in Beethoven’s Piano Concerto No. 4 in G Major, Op. 58, and Other Works.” Music Analysis 24 (2005), 305-347.

Chua, Daniel K. L. “Recomposition and Retransition in Beethoven’s String Quintet, op. 4.” Journal of Musicology 23 (2006), 62-96.

______. “Beethoven’s Other Humanism.” Journal of the American Musicological Society 62 (2009), 571-645.

Cooper, Barry. "Beethoven and the Double Bar." Music & Letters 88 (2007), 458-483.

______. “The Lost Slow Movement from Beethoven’s Quartet Op. 18 No. 2.” Eighteenth-Century Music 9 (2012), 237-251.

Dodson, Alan. “Performance, Grouping and Schenkerian Alternative Readings in Some Passages from Beethoven’s ‘Lebewohl’ Sonata.” Music Analysis 27 (2008), 107-134.

Dolp, Laura. “Between Pastoral and Nature: Beethoven’s Missa Solemnis and the Landscapes of Caspar David Friedrich.” Journal of Musicological Research 27 (2008), 205-225.

Glauert, Amanda. “‘Nicht diese Töne’: Lessons in Song and Singing from Beethoven’s Ninth Symphony.” Eighteenth-Century Music 4 (2007), 55-69.

Graydon, Philip. "'Rückkehr in die Heimat": Postwar Cultural Politics and the 1924 Reworking of Beethoven's Die Ruinen von Athen by Richard Strauss and Hugo von Hofmannsthal." Musical Quarterly 88 (2005), 630-671.

Head, Matthew. “Beethoven Heroine: A Female Allegory of Music and Authorship in Egmont.” 19th-Century Music 30 (2006-07), 97-132.

Kerman, Joseph. “Beethoven’s Unfinished Piano Trio in F Minor from 1816: A Study of Its Genesis and Significance.” Journal of Musicological Research 25 (2006), 1-42.

Kinderman, William. "Beyond the Text: Genetic Criticism and Beethoven's Creative Process." Acta musicologica 81 (2009), 99-122.

Knittel, K. M. “‘Polemik im Concertsaal’: Mahler, Beethoven, and the Viennese Critics.” 19th-Century Music 29 (2005-06), 289-321.

______. “‘Late,’ Last, and Least: On Being Beethoven’s Quartet in F Major, Op. 135.” Music & Letters 87 (2006), 16-51.

Lambert, Sterling. “Beethoven in Bb: Op. 130 and the Hammerklavier.” Journal of Musicology 25 (2008), 434-472.

Marston, Nicholas. “In the ‘Twilight Zone’: Beethoven’s Unfinished Piano Trio in F Minor.” Journal of the Royal Musical Association 131 (2006), 227-286.

Mathew, Nicholas. "History Under Erasure: Wellingtons Sieg, the Congress of Vienna, and the Ruination of Beethoven's Heroic Style." Musical Quarterly 89 (2006), 17-61.

______. “Beethoven’s Political Music, the Handelian Sublime, and the Aesthetics of Prostration.” 19th-Century Music 33 (2009-10), 110-150.

McKee, Eric. "The Topic of the Sacred Hymn in Beethoven's Instrumental Music." College Music Symposium 47 (2007), 23-52.

November, Nancy. “Off-String Bowing in Beethoven: Re-Examining the Evidence.” Ad Parnassum 7/14 (2009)

Ockelford, Adam. "Relating Musical Structure and Content to Aesthetic Response: A Model and Analysis of Beethoven's Piano Sonata Op. 110." Journal of the Royal Musical Association 130 (2005), 74-118.

Proksch, Bryan. “An Early Model for Beethoven’s Cyclic Integration: Mozart’s String Quartet in A Major, K. 464.” Music Research Forum 23 (2008), 53-77.

Steblin, Rita. "Who Died? The Funeral March in Beethoven's Eroica Symphony." Musical Quarterly 89 (2006), 62-79.

Stroh, Patricia. "Beethoven in the Auction Market: A Twenty-Year Review." Notes 63 (2006-07), 533-564.

Terrigno, Loretta. “Schenker’s Interpretive Fingerings: A Comparison of Beethoven’s Piano Sonatas Op. 57 and Op. 7.” Music Research Forum 24 (2009)

Tusa, Michael. “Reading a Relationship: Solo-Tutti Interaction and Dramatic Trajectory in Beethoven’s Second Piano Concerto.” Journal of Musicology 29 (2012), 44-84.

Vazsonyi, Nicholas. “Beethoven Instrumentalized: Richard Wagner’s Self-Marketing and Media Image.” Music and Letters 89 (2008), 195-211.

Woodfield, Ian. “Christian Gottlob Neefe and the Bonn National Theatre, with New Light on the Beethoven Family.” Music and Letters 93 (2012), 289-315.

Zenck, Claudia Maurer. “‘Mannichfaltige Abweichungen von der gewöhnlichen Sonaten-Form’: Beethoven’s ‘Piano Solo’ Op 31 No. 1 and the Challenge of Communication.” In Communication in Eighteenth-Century Music, ed. Danuta Mirka and Kofi Agawu, 53-79. Cambridge: Cambridge University Press, 2008.

Other composers

(alphabetical by composer)


Brian Capleton. “Carl Friedrich Abel, a Gainsborough Painting, and Viol Temperament: Some Evidence and Enigmas.” Consort 59 (2003), 51-74.

Peter Holman. “‘A Solo on the Viola da Gamba’: Carl Friedrich Abel as a Performer.” Ad Parnassum 2/4 (2004), 45-71.

Joseph W. Pegg. “Avison Observed.” Musical Times 149 (Spring 2008), 79-90.

Reginald L. Sanders. "Carl Philipp Emanuel Bach's Ensemble for Liturgical Performances at the Hamburg Principal Churches." Hamburger Jahrbuch für Musikwissenschaft 18 (2001), 367-403.

Markus Rathey. “Celebrating Patriotism: Carl Philipp Emanuel Bach’s Compositions for the Militia in Hamburg.” Eighteenth-Century Music 4 (2007), 265-283.

Susan Wollenberg. “‘Es lebe die Ordnung und Betriebsamkeit! Was hilft das beste Herz ohne Jene!’: A New Look at Fantasia Elements in the Keyboard Sonatas of C. P. E. Bach.” Eighteenth-Century Music 4 (2007), 119-128.

Joshua S. Walden. “Composing Character in Musical Portraits: Carl Philipp Emanuel Bach and L’Aly Rupalich.” Musical Quarterly 91 (2008), 379-411.

Exner, Ellen. “C. P. E. Bach at His Word: A Reconsideration of the Early Berlin Years.” Eighteenth-Century Music 9 (2012), 253-260.

Ann Van Allen-Russell. "'For Instruments not Intended': The Second J. C. Bach Lawsuit." Music & Letters 83 (2002), 3-29.

Paul Cienniwa. “Unexpected Examples of Sonata Form: Claude-Bénigne Balbastre’s 1759 ‘Pièces de clavecin, premier livre.’” Ad Parnassum 1 (2003), 133-146.

Rohan H. Stewart-MacDonald. “Canonic Passages in the Later Piano Sonatas of Muzio Clementi: Their Structural and Expressive Roles.” Ad Parnassum 1 (2003), 51-107.

Jeremy Eskenazi. “Clementi’s ‘Gradus ad Parnassum’ on the Concert Stage.” Ad Parnassum 5/10 (2007)

Rohan H. Stewart-MacDonald. “Clementi’s Orchestral Works, Their Style and British Symphonism in the Nineteenth Century: S. Wesley, Crotch, Potter, MacFarren and Sterndale Bennett.” Ad Parnassum 5/10 (2007)

Alan Davidson. “The Iconography of the Émigré Musician: Henri-Pierre Danloux’s 1795 Portrait of Jan Ladislav Dussek.” Early Music 37 (2009), 175-186.

Jen-Yen Chen. “The Sachsen-Hildburghausen Kapelle and the Symphonies of Christoph Willibald Gluck.” Ad Parnassum 2/1 (2003), 81-109.

Joyce Simlett-Moss. “Confused Identities: The Two Master Hummel(l)s.” Musical Times 150 (Autumn 2009), 65-78.

Christian Broy. “Newly Discovered Leopold Mozart Sources at Wolfegg Castle.” Eighteenth-Century Music 5 (2008), 107-114.

Frances Jones. “Leopold Mozart’s Alphorn Sinfonia and the Pastorella.” Consort 65 (2009), 78-94.

Chris Walton. “Pocahontas in the Alps: Masonic Traces in the Stage Works of Franz Christoph Neubauer.” Musical Times 146 (Autumn 2005), 43-56.

Pierpaolo Polzonetti. “Oriental Tyranny in the Extreme West: Reflections on Amiti e Ontario and Le Gare Generose.” Eighteenth-Century Music 4 (2007), 7-53. Paisiello.

Donald C. Sanders. “Sunday Music: The Sonatas of Domenico Paradies.” Musical Times 145 (Spring 2004), 68-74.

Richard Will. “Pergolesi’s Stabat Mater and the Politics of Feminine Virtue.” Musical Quarterly 87 (2004), 580-614.

Matthew Haakenson. "Two Spanish Brothers Revisited: Recent Research Surrounding the Life and Instrumental Music of Juan Bautista Pla and José Pla." Early Music 35 (2007), 83-94.

Arthur Searle. “Pleyel’s ‘London’ Symphonies.” Early Music 36 (2008), 231-242.

Claudia Schweitzer. “Madame Ravissa de Turin: A Forgotten Women Composer of the 18th Century.” Early Music 32 (2004), 429-439.

Caryl Clark. “Fabricating Magic: Costuming Salieri’s Armida.” Early Music 31 (2003), 451-461.

Christopher H. Gibbs. “Writing Under the Influence? Salieri and Schubert’s Early Opinion of Beethoven.” Current Musicology 75 (2003), 117-144.

Carl Sloane. “Domenico Scarlatti’s ‘tremulo.’” Early Music 30 (2002), 158. Cf. Schott, Early Music 30 (2002), 158.

Carl Sloane. “A Fresh Look at Domenico Scarlatti’s Essercizi per gravicembalo, and the ‘tremula di sopra.’” Early Music 35 (2007), 605-608.

John Koster. “Towards an Optimal Instrument: Domenico Scarlatti and the New Wave of Iberian Harpsichord Making.” Early Music 35 (2007), 575-603.

Warwick Lister. "New Light on the Early Career of G. B. Viotti." Music & Letters 83 (2002), 419-425.

______. "'Suonatore del Principe': New Light on Viotti's Turin Years." Early Music 31 (2003), 233-246.

Alyson McLamore. “‘By the Will and Order of Providence’: The Wesley Family Concerts, 1779-1787.” Research Chronicle 37 (2004), 71-220.

Frederick Aquilina. “A Short Biography of Benigno Zerafa (1726-1804): A Mid-Eighteenth-Century Maltese Composer of Sacred Music.” Eighteenth-Century Music 4 (2007), 107-118.

some recent thematic catalogues:

Christine D. de Catanzaro and Werner Reiner. Anton Cajetan Adlgasser (1729-1777): A Thematic Catalogue of His Works. Thematic Catalogues, 22. Hillsdale NY: Pendragon, 2000.

Volkmar von Pechstaedt. Thematisches Verzeichnis der Kompositionen von Franz Danzi (1763-1826). Mit einem Anhang der literarischen Arbeiten Danzis. Tutzing: Hans Schneider, 1996.

Sang-Chun Yeon. Carl Ditters von Dittersdorf: Die Kammermusik für Streichinstrumente. Quellenkundliche und stilistische Untersuchungen mit einem thematischen Verzeichnis. Studien und Materialien zur Musikwissenschaft, 19. Hildesheim: Georg Olms, 1999.

Martherita Tomasi. Giovanni Battista Grazioli (1746-1820): Catalogo thematico. Studi Musicologici, 3; Cataloghi e bibliografia, 14. Venice: Fondazione Levi, 2005.

Bertil Van Boer. Joseph Martin Kraus (1756-1792): A Systematic-Thematic Catalogue of His Musical Works and Source Study. Thematic Catalogues, 26. Stuyvesant: Pendragon, 1998.

Felix Friedrich. Krebs-Werkverzeichnis (Krebs-WV). Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Ludwig Krebs. Altenburg: Kamprad, 2009.

Karl Parta, ed. Franz Krommer (1759-1831): Thematischer Katalog seiner musikalischen Werke. Prague: Supraphon, 1997.

Angela Evans and Robert Dearling. Josef Myslivecek (1737-1791): A Thematic Catalogue of His Instrumental and Orchestral Works. Musikwissenschaftliche Schriften, 35. Munich: Katzbichler, 1999.

Wilhelm Ensslin. Chronologisch-thematisches Verzeichnis der Werke Ferdinando Paërs (PaWV), 1: Die Opern. Musikwissenschaftliche Publikationen, 23, 1. Hildesheim: Georg Olms, 2004.

Alberto Iesuè. Le Opere di Giovanni Benedetto Platti 1697-1763. Catalogo tematico. Padua: Edizioni de "I Solisti Veneti," 1999.

Erich Duda. Das musikalische Werk Franz Xaver Süssmayrs. Thematisches Werkverzeichnis (SmWV) mit ausführlichen Quellenangaben und Skizzen der Wasserzeichen. Schriftenreihe der Internationalen Stiftung Mozarteum salzburg, 12. Kassel: Bärenreiter, 2000.

Murányi, Róbert Árpád. “Thematischer Katalog der Werke G. J. Werners in Budapest.” Studia musicologica 38 (1997), 151-228.

Theory


Bonds, Mark Evan. “The Spatial Representation of Musical Form.” Journal of Musicology 27 (2010), 265-303.

Braunschweig, Karl David. “Enlightenment Aspirations of Progress in Eighteenth-Century German Theory.” Journal of Music Theory 47 (2003), 273-304.

Chapin, Keith. “Strict and Free Reverse: The Law of Counterpoint in Koch’s Musikalisches Lexikon and Mozart’s Zauberflöte.” Eighteenth-Century Music 3 (2006), 91-107.

______. “Scheibe’s Mistake: Sublime Simplicity and the Criteria of Classicism.” Eighteenth-Century Music 5 (2008), 165-177.

Eckert, Stefan. “[...] wherein good Taste, Order and Thoroughness Rule”: Hearing Riepel’s Op. 1 Violin Concertos through Riepel’s Theories.” Ad Parnassum 3/1 (2005), 23-44.

Dammann, Guy. “‘Sonate, que me veux-tu?’: Jean-Jacques Rousseau and the Problem of Instrumental Music.” Ad Parnassum 3/1 (2005), 57-67.

Riley, Matthew. "Civilizing the Savage: Johann Georg Sulzer and the 'Aesthetic Force' of Music." Journal of the Royal Musical Association 127 (2002), 1-22.

______. "Johann Nikolaus Forkel on the Listening Practices of 'Kenner' and 'Liebhaber.'" Music & Letters 84 (2003), 414-433.

Waeber, Jacqueline. “Jean-Jacques Rousseau’s ‘unité de mélodie.’” Journal of the American Musicological Society 62 (2009), 79-143.

Other Topics


Caplin, William E. “The Classical Cadence: Conceptions and Misconceptions.” Journal of the American Musicological Society 57 (2004), 52-117.

______. “On the Relation of Musical Topoi to Formal Function.” Eighteenth-Century Music 2/1 (2005), 113-124.

Chantler, Abigail. “The Classical Period: A Musicological Misnomer.” Ad Parnassum 2/1 (2003), 121-142.

______. “The Sturm und Drang Style Revisited.” International Review of the Aesthetics and Sociology of Music 34 (2003), 17-31.

Hogwood, Christopher. "In Defence of the Minuet and Trio." Early Music 30 (2002), 236-251.

Latcham, Michael. "Swirling from One Level of the Affects to Another: The Expressive Clavier in Mozart's Time." Early Music 30 (2002), 502-520.

McClelland, Ryan. “Extended Upbeats in the Classical Minuet: Interactions with Hypermeter and Phrase Structure.” Music Theory Spectrum 28 (2006), 23-56.

Schwartz, Judith L. "Conceptions of Musical Unity in the 18th Century." Journal of Musicology 18 (2001), 56-75.

Telesco, Paula. "Forward-Looking Retrospection: Enharmonicism in the Classical Era." Journal of Musicology 19 (2002), 332-373.

New scholarship on sonata form:

James Hepokoski and Warren Darcy. “The Medial Caesura and Its Role in the Eighteenth-Century Sonata Exposition.” Music Theory Spectrum 19 (1997), 115-154.

James Hepokoski. "Back and Forth from Egmont: Beethoven, Mozart, and the Nonresolving Recapitulation." 19th-Century Music 25 (2001-02), 127-154.

James Hepokoski. "Beyond the Sonata Principle." Journal of the American Musicological Society 55 (2002), 91-154.

James Hepokoski and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Oxford: Oxford University Press, 2006.



If you need additional bibliographic information, please feel free to write me at the address below.

Email: noonantp@aol.com