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The keyboard sonatas of Domenico Scarlatti : Late Baroque or Early Classic : an attempt to apply structural criteria

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dc.contributor.author Douwes Dekker S en
dc.date.accessioned 2016-09-22T11:54:35Z
dc.date.available 2016-09-22T11:54:35Z
dc.date.created 1971 en
dc.date.submitted 1977 en
dc.identifier.uri http://hdl.handle.net/20.500.11892/142101
dc.description.abstract The aim of this study is to determine whether Domenico Scarlatti s keyboard sonatas belong, stylistically, to the Late Baroque or Early Classic period. The year of publication of the thirty Essercizi (1738) is the earliest known date relating to the production of the sonatas. A number of structural elements, relating to keyboard music is applied to the sonatas for analysis and comparison. The main features of the conclusion drawn are as follows: Although in the earliest, pre-Essercizi sonatas the melody is usually based on the continuous expansion of the Late Baroque, the majority of sonatas has the repetitive, mosaic-like melody of the Early Classic period. The undifferentiated rhythmic textures of the Late Baroque occur in the pre-Essercizi sonatas and sporadically in later works. The unarticulated phrasing of the Late Baroque occurs often in the pre-Essercizi group. The brisk harmonic rhythm of the Late Baroque is a common feature of the sonatas. The polyphonic, imitative textures of the Late Baroque occur in the small number of fugues and other non-fugal works. In the relationship between key area and structure, the pre-Essercizi sonatas show Late Baroque influences. Thus my analysis reveals that Late Baroque influences predominate in the pre-Essercizi sonatas. Early Classic influences predominate in the majority of sonatas from the Essercizi onwards. en
dc.language English en
dc.subject Musicology en
dc.subject Music history en
dc.title The keyboard sonatas of Domenico Scarlatti : Late Baroque or Early Classic : an attempt to apply structural criteria en
dc.type Masters degree en
dc.description.degree M Mus en


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