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Dear readers,<br>
<br>
I am currently in the finishing stages of writing my Master's thesis
on Viennese Kyrie movements c.1770-1830 seen from a modern <i>Formenlehre</i>
perspective, especially through the form-functional theories of
William Caplin.<br>
<br>
In some of the 19th-century compositions considered (Beethoven's
Solemn Mass, and Masses by Schubert, Süssmayr, Hummel and Eybler)
one finds that cadential articulation becomes somewhat less strict
than in earlier works, such as by having a vii 6/5 as a stand-in for
V in the primary theme (Süssmayr's Solemn Mass in D), and the
adoption of authentic cadences to end transitional themes (Beethoven
and Schubert), not found in the works of earlier composers. However,
these are isolated cases, which I would assume to be part of a
larger trend, only partially represented by these examples. Are
there written any books or articles discussing this development in
any detail?<br>
<br>
Halvor Hosar<br>
University of Trondheim (NTNU)<br>
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