The Use of Contrasting Modes to Create Sonata Form
Publication Date
Spring 5-1-2025
College
College of Music & Performing Arts
Department
Music, School of
Student Level
Graduate
Faculty Mentor
Dr. Clare Eng
Presentation Type
Talk/Oral
Summary
In nearly every theory curriculum in America the same definition of sonata form is given. This definition almost always consists of three parts: a beginning "exposition" that includes two themes, defined by a tonic-dominant relationship, a "development" section that usually features these themes developed, and a "recapitulation" that sees the second theme match the same tonal center of the primary theme. However, as many theorists have pointed out, this is only one type of sonata in a multitude of different types that are all defined by contrast. While studying sonata form and theory, I decided to ask this question: If contrast is used to define form, does it have to be contrast in a tonal aspect, or can it be created within a modal context? In my presentation, I will show how modal contrast can be used to define sonata form in my piece "Sonata for Piano and 2 Saxophones."
Recommended Citation
Baulch, Nathan, "The Use of Contrasting Modes to Create Sonata Form" (2025). SPARK Symposium Presentations. 688.
https://repository.belmont.edu/spark_presentations/688
