Evgenij Kosiakin
Eastman School of Music
Heinrich Schenker's notorious example 100,5 in Free Composition (Beethoven's Sonata op. 2 no. 2, 1st movement) contradicts the entire practice of sonata form analysis set by Schenker himself by showing the key of the second theme in the exposition as a large scale dominant-divider rather than structural dominant. Though usually viewed as an odd exception from the well-established rule, this example may hint on the possibility of an alternative paradigm of sonata form analysis which was never developed by Schenker or his successors. In the proposed paper I will outline such a paradigm, seeking justification for it in standard multi-part voice-leading patterns; analyses of sonata-form movements by Beethoven and Schubert will be presented with the purpose of strengthening this argument by providing motivic reasons for their new readings. Finally, implications of the new approach will be considered with respect to the overall theory of form, especially in light of the recent attempts at the reconciliation between traditional and Schenkerian notions of form.