Talk:Criticism and sonata form

While I am an admirer of Rosen's The Classical Style, I am rather uncomfortable with the impression this article gives me in its current form, namely that before Mr Rosen nobody had ever realized the significance of tonality for the sonata form, and in particular the importance of the "upward" modulation, thus dividing the movement into tonal areas rather than "first and second themes". Tovey had already written at length in the 1911 Enc.Brit. on exactly this subject, and I rather have the impression that he was not the only person arguing that way at the time. Is this something that could be reflected in the article?

--Grinmouse

Is the Susan McClary criticism something that is merely mentioned in the article as an interesting fresh take on the form, or do a wide variety of people actually believe in this analysis?

Vivacissamamente 05:20, 6 November 2005 (UTC)

:She's fringe, and hotly debated among musicologists. Some of us think she's nuts. But that's my POV and I strive to be good and keep it out of articles ... :-) Antandrus (talk) 05:23, 6 November 2005 (UTC)

Properly speaking, this article should include more from Carl Czerny's Schule der praktischen Tonsetzkunst, Op.600 (1839, pub. 1850), and include William E. Caplin's Classical Form

A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven

(Oxford U Press, 2000) and Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata, by James Hepokoski and Warren Darcy (Oxford U Press, 2006). Drabauer 04:17, 28 October 2007 (UTC)drabauer

Well, shoulnd't Adorno's thoughts on the subject be presented here? --130.241.66.89 (talk) 11:11, 11 October 2010 (UTC)

To criticism OF the sonata form as this article touches little on criticism AND the sonata form. --Shabidoo | Talk 04:18, 9 August 2012 (UTC)