Jonathan Paget
https://ro.ecu.edu.au/ecubooks/5/
The power of sonata form lies in its ability to create long-range structural cogency. How this is achieved within the specific medium of the early 19th-century guitar sonata is the subject of this paper. I investigate the nature of sonata form through two competing yet complementary modern theories, Hepokoski/Darcy1 and William Caplin,2 and investigate the potential for these theories to interact with the interpretative decision making processes of the performer. The discussion draws from the repertory of early 19th century guitar sonatas—a corpus of more than 160 works—most of which remain unplayed and unstudied.3 Although this remains a somewhat arcane repertoire, there are principles at play that have broader applicability
Recent Sonata Theory and the Performance of Early Nineteenth-Century Guitar Sonatas
