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Through analysis of three of Schubert's expanded Type 1 sonatas – the Finales of the Piano Sonata, D. 960, the Cello Quintet, D. 956 and the ‘Rosamunde’ Quartet, D. 804 – this article brings to light a recapitulatory formal process that Schubert seems to have favoured for works in this form. The...
This article revisits the long‐standing issue of form in the Adagio of Mahler's Tenth Symphony (1910) in light of recent developments in Formenlehre and neo‐Riemannian theory. I consider the movement's sonata properties, as discerned by Kofi Agawu (1986) and Richard Kaplan (2005), by exploring...
This article presents an analysis of Grieg's lyric piece ‘Takk’ (‘Gratitude’), focusing on the B section of the piece. In that section Grieg makes use of a harmonic progression that is difficult to explain vertically (i.e. in terms of functional harmony). However, it may be explained as a result...
Time is a central – if not the central – dimension of Hitchcock's Vertigo, as noted by Richard Goodkin (1991), who compares the film to Proust's À la recherche du temps perdu; by Marker (1995), who has interpreted the idea of vertigo in the film as a metaphor for ‘the vertigo of time’; and by a...
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