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2 Edited and translated in Vernon Gotwals, Joseph Haydn. Eighteenth-Century Gentleman and Genius (Madison, 1963), 17Google Scholar

3 See Rosen, Charles, The Classical Style (New York, 1972), 337 ‘A great deal of ingenuity is expended upon the return of the theme, almost always with rollicking effect the trick is to keep suggesting the return but to delay it until the listener no longer knows when to expect it.‘Google Scholar

4 See Clarke, Eric, ‘Mind the Gap Formal Structures and Psychological Processes in Music’, Contemporary Music Review, 3 (1989), 1–13 For a broad survey, see Cook, Nicholas, ‘Perception A Perspective from Music Theory’, Musical Perceptions, ed Rita Aiello (Oxford, 1994), 64–95CrossRefGoogle Scholar

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7 Sloboda, John, ‘Psychological Structures in Music Core Research 1980–1990’, Companion to Contemporary Musical Thought, ed John Paynter et al (London, 1992), 803–39 ‘Implicit in the work of Cook and Rosner and Meyer is the notion that there are processing limits on human cognitive capacity that limit what can be extracted from music, at least on early hearings Their findings do not show that people cannot hear out large-scale structure They simply show that they do not usually do so in early listening given the experimental tasks required of them […] With longer exposure and/or different tasks, it is still quite possible that we may find evidence of large-scale psychological representations' (p 833)Google Scholar

8 Meyer, Leonard B, Style and Music Theory, History and Ideology (Philadelphia. 1989) ‘In the tonic version of the changing-note schema, the melody revolves around the first degree of the scales, usually moving 1–7/2–1, but sometimes using the opposite order (1–2/7–1)’ (p 227) Meyer thinks that the former version makes a good opening theme, because it ‘rises sequentially, implying continuation to the third of the scale or beyond’ The latter version is more suitable for cadential gestures, since ‘the closure that the leading-tone-to-tonic motion (7–1) creates is too strong for the generation of more extensive melodic structures’.Google Scholar

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13 Ibid., 27.Google Scholar

14 Fodor, Jerry, The Modularity of Mind (Cambridge, Mass., 1983) See also his The Language of Thought (New York, 1975)Google Scholar

15 The distinguishing features of modules are informational encapsulation, domain specificity, mandatory operation and innateness. This means that modules function independently of one another, are charged with specific tasks (‘language’ modules are independent of ‘thought’ modules), and are not subject to voluntary control or change they are inborn.Google Scholar

16 Fred Lerdahl and Ray Jackendoff, A Generative Theory of Tonal Music (Cambridge, Mass., 1983).Google Scholar

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18 Sisman, Elaine, ‘Small and Expanded Forms Koch's Model and Haydn's Music’, Musical Quarterly, 68 (1982), 444–75 Sisman shows how Koch and Haydn employ similar expansion techniques to arrive at larger sonata-form structures from a small period. See also Rosen, The Classical Style, 83–8 ‘The second variation of this second theme is a complete sonata movement, and it is amusing to see how Haydn expands a 20-measure theme into a larger work’ (p. 83).Google Scholar

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20 See Dowling, W Jay, ‘Context Effects on Melody Recognition: Scale-Step versus Interval Representations’, Music Perception, 3 (1986), 281–96.Google Scholar

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23 See Leonard B Meyer, Explaining Music (Chicago, 1973), 85 ‘A semicadence might be defined as one in which a mobile, goal-directed, harmonic process is temporarily stabilised by decisive rhythmic closure In other words, a semicadence is a case of parametric noncongruence which has become archetypal in the stylistic syntax of tonal music‘Google Scholar

24 Schachter, Carl, ‘Rhythm and Linear Analysis A Preliminary Study’, Music Forum, 5 (New York, 1976), 281–334 ‘There would be little drama in this phrase were it not for the conflict between durational and tonal groupings’ (p 332).Google Scholar

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31 William S Newman, ‘The Climax of Music’, Music Review, 13 (1952), 283–93Google Scholar

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35 Ibid., 277.Google Scholar

36 Lerdahl, and Jackendoff, , A Generative Theory, 183Google Scholar

37 Ibid., 179Google Scholar

38 Kermode, Frank, The Sense of an Ending (New York, 1967), 18–19 ‘Peripeteia […] is present in every story of the least structural sophistication [It] depends on our confidence of the end, it is a disconfirmation followed by a consonance; the interest of having our expectations falsified is obviously related to our wish to reach the discovery or recognition by an unexpected and instructive route.‘Google Scholar

39 See Bonds, Mark Evan, ‘Haydn's False Recapitulations and the Perception of Sonata Form in the Eighteenth Century’ (Ph.D dissertation, Harvard University, 1988). See also Oliver Strunk, ‘Haydn's Divertimenti for Baryton’, Essays on Music in the Western World (New York, 1932), 126–70Google Scholar

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43 Ibid., 79Google Scholar

44 See also the definition of Beethoven's heroic schema in Anthony Newcomb, ‘Once More “Between Absolute and Program Music” Schumann's Second Symphony’, 19th Century Music, 7 (1984), 233–50Google Scholar

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46 Ibid., 96Google Scholar

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48 Music Analysis in the Nineteenth Century, ii, ed Bent, 129Google Scholar

49 Ibid., 140Google Scholar

50 Hatten, Musical Meaning in Beethoven, 119Google Scholar

51 Ibid., 120Google Scholar

52 Baker, ‘Chromaticism in Classical Music’, 266Google Scholar

53 Meyer, Explaining Music, 130Google Scholar

54 See Levy, Janet, ‘Texture as a Sign in Classic and Early Romantic Music’, Journal of the American Musicological Society, 35 (1982), 482–531 (p. 483)Google Scholar

55 Ibid., 519, 497.Google Scholar

56 Levy, Texture as a Sign', 498, 507Google Scholar

57 Ibid., 520Google Scholar

58 Ibid., 498.Google Scholar

59 Ibid., 526, 507Google Scholar

60 Ibid., 520Google Scholar

61 Donald Francis Tovey. ‘Beethoven Symphony in E flat Major’, Symphonies and Other Orchestral Works (Oxford, 1989), 44–52 (p. 46).Google Scholar

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63 Shamgar, Beth, ‘On Locating the Retransition in Classic Sonata Form’, Music Review, 42 (1981), 130–43Google Scholar

64 Heinrich C. Koch, Versuch einer Anleitung zur Composition (Leipzig, 1797), 224Google Scholar

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66 Versuch enter Anleitung, 224Google Scholar

67 ‘Moving ahead to nineteenth-century treatises, we discover a significant change in the harmonic role of the retransition For the first time, theorists associate the retransition with the dominant pedal This linkage coincides with two basic changes in the nature of the opening border theorists no longer identify the end of the development with a cadence, and […] they now locate the start of the retransition at the onset of the dominant pedal’ (Shamgar, ‘On Locating the Retransition’, 133)Google Scholar

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69 Schenker, Heinrich, Five Graphic Music Analyses (New York, 1969), 40–3.Google Scholar

70 Goodman, Nelson, Languages of Art (Indianapolis, 1968), 71 ‘A label along with others constituting a schema is in effect detached from the home realm of that schema and applied for the sorting and organizing of an alien realm’ (p. 72)Google Scholar

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76 Mark Evan Bonds, ‘Haydn, Laurence Sterne, and the Origins of Musical Irony’, Journal of the American Musicological Society, 44 (1991), 57–91 (p 58).Google Scholar

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79 Abrams, Meyer Howard, The Mirror and the Lamp Romantic Theory and the Critical Tradition (New York, 1953), introductionGoogle Scholar

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81 Beach, David, ‘A Recurring Pattern in Mozart's Music’, Journal of Music Theory, 27 (1983), 1–30Google Scholar

82 Ibid., 1.Google Scholar

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84 Ibid., 144.Google Scholar

85 See Clarke, Eric, ‘Improvisation, Cognition and Education’, Companion to Contemporary Musical Thought, ed. Paynter et al., 787–802Google Scholar

86 See Marsden, Alan and Pople, Anthony, ‘Modelling Musical Cognition as a Community of Experts’, Contemporary Music Review, 3 (1989), 29–42Google Scholar

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88 Ludwig Wittgenstein, Philosophical Investigations, trans Elizabeth Anscombe (Oxford, 1984), 193–208 ‘“Now he's seeing it like this”, “now like that” would only be said of someone capable of making certain applications of the figure quite freely The substratum of this experience is the mastery of a technique’ (p 208)Google Scholar

89 Marcus B. Hester, ‘Metaphor and Aspect Seeing’, Journal of Aesthetics and Art Criticism, 25 (1966), 205–12 (p 207)Google Scholar

90 Agawu, Playing with Signs, 30.Google Scholar

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