碩士 / 國立藝術學院 / 音樂學系碩士班 / 87 / Sonata Form（Sonata Allegro Form）is the most representative form among instrument compositions of the 18th Century. Among the composers of sonata forms, Joseph Haydn is the most significant one to the development of the form. However, what is a Haydn’s sonata form? So far there is no precise definition of the compositions of Haydn’s style. When approached with such a similar question, even a musical scholar who has done extensive research on the development of the musicals of Haydn and has a confident grip of music style and technique of W. A. Mozart would find it difficult to articulate. The structural style and form of Haydn’s sonata form cannot be summed up in term of classical.
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Several topics are highly relevant in exploring Haydn’s sonata forms: for example, the actual structure of the forms, the meaning of monothematic, the style presented, and the inspirational influence having given rise to the forms. These topics will be focused in this thesis. In order to fully explore the uniqueness and comprehensiveness of the musicals of Haydn and avoid the preoccupied definition of classical music, this thesis will study the first movements of over 100 symphonies composed by Haydn and analyze their sonata forms. The historical background of Haydn, coupled with further research on some precepts, will be reconstructed to assist the study and interpretation of Haydn’s sonata forms.
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The structure, theme, and heritage of Haydn’s sonata forms will be fully discussed and summarized in the following:
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(1) Haydn's sonata forms center on the thematic variation and motif development. These techniques are used to thread an entire movement. The mold of structure is unlike the standard mold defined in the 19th and 20th Centuries. Neither is it like a monthematic sonata form. The relationship between tonality and thematic sections cannot be synthesized in one formula. This thesis attempts to analyze the Haydn’s sonata forms in terms of the descriptions of sonata forms in 1988 authored by J. P. Larsen. It purports to prove the diversity and uniqueness of Haydn’s sonata forms.
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(2) The thematic forms of Haydn changed along his various stages. Each has its features and characteristics. Based on the first movements of the symphonies of Haydn, the thematic forms may be categorized as following: Baroque-like Fortspinnungtypus (one of the Baroque styles); Fortspinnungtypus in periods and sentences; regular periods and sentences; and lyric-like Liedtypus.
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(3) Haydn might have found its inspiration in his contemporary new music of Vienna. This proposition can be supported by Haydn's upbringing and initiation, the contemporary music environment of Vienna, and the style and trend of the new music of Vienna. The similarities between sonata forms of Haydn and the forms of G. Wagenseil, we can further ascertain that Haydn was heavily influenced by the Vienna music of earlier and middle 18th Century.
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For a long period of time, Haydn has been esteemed as a representative composer of the classical period of the 18th Century. In fact, his instrumental compositions have a great impact to musical development of that period. However, how do we position him in the history of music? Describing the revelation of his music directly would be more meaningful than merely regarding Haydn as a representative composer of the classical.
| Identifer | oai:union.ndltd.org:TW/087NIA00248010 |
| Date | January 1999 |
| Creators | Pei-Fen Chen (Beth Chen), 陳珮玢 |
| Contributors | Liu, Chu-Wey, 劉岠渭 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 259 |
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