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Journeys Through Galant Expositions$
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L. Poundie Burstein

Print publication date: 2020

Print ISBN-13: 9780190083991

Published to Oxford Scholarship Online: October 2020

DOI: 10.1093/oso/9780190083991.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 16 June 2021

Two-Part Expositions

Two-Part Expositions

Chapter:
(p.133) 8 Two-Part Expositions
Source:
Journeys Through Galant Expositions
Author(s):

L. Poundie Burstein

Publisher:
Oxford University Press
DOI:10.1093/oso/9780190083991.003.0008

An exposition’s punctuation sequence may be demarcated in such a way as to suggest the presence of presence of a distinct theme zone. As an analytic strategy for dealing with Galant expositions, it is often best not to presuppose the presence of these theme zones, but to understand them as arising as a possible by-product of the articulation of the punctuation form. Two clear examples of Galant expositions that suggest distinct theme zones are examined in this chapter: from the finale of Leopold Mozart’s Sonata for Keyboard in F and from the first movement of Wolfgang Amadeus Mozart’s Church Sonata in D, K. 144.

Keywords:   punctuation sequence, two-part exposition, theme zones, Leopold Mozart, Wolfgang Amadeus Mozart, Sonata in D for two violins, organ, violoncello, and bass K. 144 (124a)

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