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dc.creatorNeumeyer, David
dc.date.accessioned2018-01-19T14:20:01Z
dc.date.available2018-01-19T14:20:01Z
dc.date.issued2018-01-19
dc.identifierdoi:10.15781/T2TM72H5B
dc.identifier.urihttp://hdl.handle.net/2152/63146
dc.description.abstractThis essay considers some theoretical questions raised at the end of Part 4 in this series. William Caplin’s theory of formal functions in Haydn, Mozart, and Beethoven stipulates that themes are of two primary types (period, sentence) and several secondary types (“hybrids”). These need to be resorted in order to account for eighteenth-century practice more broadly, following from the results of the work in this series, Parts 1-4.en_US
dc.relation.ispartofUT Faculty/Researcher Worksen_US
dc.rightsAttribution-NonCommercial-NoDerivs 3.0 United States*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/us/*
dc.subjectmusic theoryen_US
dc.subjectmusic historyen_US
dc.subjectdance historyen_US
dc.titleFormal Functions in Menuets by Mozart, Part 5: More to Theoretical Issuesen_US
dc.typeArticleen_US
dc.description.departmentMusicen_US
dc.rights.restrictionOpenen_US


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Except where otherwise noted, this item's license is described as Attribution-NonCommercial-NoDerivs 3.0 United States