English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

The concept of form as "becoming," as proposed by Janet Schmalfeldt in her article "Form as the Process of Becoming: The Beethoven-Hegelian Tradition and the 'Tempest' Sonata," is related to the concept of functional overlap, in which the function of a given segment extends into a neighboring segment. This phenomenon occurs in classical movements, as in the first movement of Haydn's String Quartet, Op. 33 No. 1 (H. III:37), in the first movement of Beethoven's Tempest sonata (as explored in Schmalfeldt's article), and in sonata-form movements from the late nineteenth century. These later movements contain overlap not only between adjacent segments (primary theme, transition, etc.) within the larger divisions, but also between the larger divisions (exposition, development, etc.) themselves. This paper explores divisional functional overlap between the development and recapitulation, with particular focus on two of its manifestations: 1) overlap between the retransition and the recapitulation, and 2) Hepokoski & Darcy's so-called "expanded Type 1" sonata, in which the recapitulation gives way to, or becomes, the development. The use of such a format, and other types of deeper-level functional overlap, by composers in the late nineteenth century reflects their continuation of Beethoven's interpretation of sonata form as a process of the interaction between motivic material and formal function.

Becoming at a Deeper Level: Divisional Overlap in Sonata Forms from the Late Nineteenth Century