[Smt-talk] Punctuation form

[Joel Galand]

Dear All:

Carl Dahlhaus  used the variant "Interpunktische Form" (e.g., "Der rhetorische Formbegriff H. Chr. Kochs und die Theorie der Sonatenform" in Archiv für Musikwissenschaft 35/3. (1978), pp. 155-177.  Maybe that's where Karol Berger got it.  Of course, one could just ask him.

Best,

 

Joel Galand
Associate Professor of Music Theory
Associate Director for Academic Affairs and Director of Graduate Studies
School of Music
Florida International University

________________________________________
From: smt-talk-bounces at lists.societymusictheory.org [smt-talk-bounces at lists.societymusictheory.org] on behalf of Edward Klorman [eklorman at juilliard.edu]
Sent: Tuesday, January 22, 2013 3:17 PM
To: smt-talk at lists.societymusictheory.org
Subject: [Smt-talk] Punctuation form

Dear all,

I was wondering if anyone knows who coined the term "punctuation form" to describe models of form based on cadential criteria. The term is a cognate of Koch's "Interpunction" and "interpunctische Formel." Baker translates the latter term as "punctuation formula."

I had thought that the term "punctuation form" originated in Leonard Ratner's work, including his 1949 JAMS article and his book Classic Music, but I haven't been able to track these terms down in those sources, even if the concepts are there.

The earliest sources I've been able to track down are a series of publications by Karol Berger about Mozart's piano concertos (citations below). I'd be grateful if anyone knows whether these publications are the first usage of "punctuation form" or whether there are earlier sources. The Berger publications are:

“The Second-Movement Punctuation Form in Mozart’s Piano Concertos:  the Andantino of K. 449,” in R. Angermüller, D. Berke, U. Hofmann, and W. Rehm, eds., Bericht über den Internationalen Mozart-Kongreß Salzburg 1991, Mozart-Jahrbuch 1991 (1992), 168-72.

“The First-Movement Punctuation Form in Mozart’s Piano Concertos,” in Neal Zaslaw, ed., Mozart’s Piano Concertos:  Text, Context, Interpretation (Ann Arbor:  The University of Michigan Press, 1996), pp. 239-59.

“Mozart’s Concerto Andante Punctuation Form,” Mozart-Jahrbuch 1998, 119-38; reprinted in Helen Geyer, Maciej Jablonski, and Jan Steszewski, eds., Music in the World of Ideas (Poznan:  Ars Nova, 2001), pp. 81-102.

Thanks very much!

Sincerely,

Edward

=============================
Edward Klorman, The Juilliard School
Chair, Music Theory and Analysis
Faculty, Chamber Music

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