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Haydn's false recapitulations and the perception of sonata form in the eighteenth century
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Haydn's false recapitulations and the perception of sonata form in the eighteenth century (1988)Haydn's false recapitulations and the per…How Sonata Forms (2022)How Sonata FormsThe Cambridge Haydn Encyclopedia (2019)The Cambridge Haydn Encyclope…Making Light Haydn, Musical Camp, and the Long Shadow of German Idealism (2018)Making Light Haydn, Musical C…Making Light Haydn, Musical Camp, and the Long Shadow of German Idealism (2018)Making Light Haydn, Musical C…Of Beginnings and Ends (2017)Of Beginnings and EndsNormative Wit (2015)Normative WitSurprise Without a Cause?. ‘False Recapitulations’ in the Classical Repertoire and the Modern Paradigm of Sonata Form (2013)Surprise Without a Cause?. ‘F…Auxiliary Cadences and the Binary Rondo (2013)Auxiliary Cadences and the Bi…Joseph Haydn’s “witty” play on Hepokoski and Darcy’s Elements of Sonata Theory. James Hepokoski/Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata, New York: Oxford University Press 2006. (2011)Joseph Haydn’s “witty” play o…Some Eighteenth-Century Ritornello Scripts and Their Nineteenth-Century Revivals (2008)Some Eighteenth-Century Ritor…The New Grove Dictionary of Music and Musicians (1981)Brahms and Schenker: A Mutual Response to Sonata Form (1994)Elements of sonata theory : norms, types, and deformations in the late eighteenth-century sonata (2006)An Essay concerning Human Understanding (1690)Classic Music: Expression, Form, and Style (1981)Classical form : a theory of formal functions for the instrumental music of Haydn, Mozart, and Beethoven (1998)Humorous Script Oppositions in Classical Instrumental Music (2017)SCRIPTS, PLANS, GOALS, AND UNDERSTANDING (1988)Elements of Sonata Theory (2006)Form and the Large-Scale Connection: Motivic Harmony and the Expanded Type-1 Sonata in Dvořák’s Later Chamber Music (2018)Dvořák and Subordinate Theme Closure (2020)Parallel Binary or Tripartite? Formal Hybridisation of Sonata Types in the Nineteenth Century (2021)Emotion and Meaning in Music (1957)Women, Fire, and Dangerous Things (1987)After Virtue: A Study in Moral Theory (1984)Gay New York: gender, urban culture, and the making of the gay male world, 1890-1940 (1994)Musicking: the meanings of performing and listening (1999)Divided by a Common Language (2019)The Cambridge Companion to Operetta (2019)Fundamentals of Musical Composition (1968)The Classical Style: Haydn, Mozart, Beethoven (1976)Distinction: A Social Critique of the Judgement of Taste. (1985)The structural transformation of the public sphere: an inquiry into a category of bourgeois society (1990)Reassembling the Social (2005)The sociology of philosophies: a global theory of intellectual change (1999)Musicking: The Meanings of Performing and Listening (2000)The Iron Cage Revisited: Institutional Isomorphism and Collective Rationality in Organizational Fields (1983)The iron cage revisited institutional isomorphism and collective rationality in organizational fields (2004)The Theory of Moral Sentiments (2010)A Myriad of Exceptions? Challenging the Sonata‐Form Typology for the Classical Repertoire (2021)Early Double and Triple Returns in Galant Music (2025)
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Cited by

  • 2018Making Light Haydn, Musical Camp, and the Long Shadow of German Idealism52 cited
  • 2008Some Eighteenth-Century Ritornello Scripts and Their Nineteenth-Century Revivals44 cited
  • 2015Normative Wit30 cited
  • 2018Making Light Haydn, Musical Camp, and the Long Shadow of German Idealism27 cited
  • 2019The Cambridge Haydn Encyclopedia18 cited
  • 2017Of Beginnings and Ends12 cited
  • 2022How Sonata Forms9 cited
  • 2011Joseph Haydn’s “witty” play on Hepokoski and Darcy’s Elements of Sonata Theory. James Hepokoski/Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata, New York: Oxford University Press 2006.6 cited
  • 2013Auxiliary Cadences and the Binary Rondo5 cited
  • 2013Surprise Without a Cause?. ‘False Recapitulations’ in the Classical Repertoire and the Modern Paradigm of Sonata Form3 cited

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