The Nexus of Inner and Outer Form in Joseph Haydn's Late Instrumental Sonata Movements Volume I: Text

Taking William Rothstein's well-known distinction between "outer form" and "inner form" as a starting point, this dissertation develops specific points of intersection between Hepokoksi and Darcy's Sonata Theory and Schenkerian theory in the context of Joseph Haydn's instrumental movements written after 1779. This study includes analyses of individual movements drawn from the four major instrumental genres from this period in Haydn's career: the keyboard sonata, the keyboard trio, the string quartet, and the symphony. The numerous case studies highlight correlations and disjunctions between voice-leading structure and Sonata Theory design, identifying patterns that contribute to form studies in general as well as Haydn studies in particular.;Chapter 1 lays the theoretical groundwork, particularly highlighting features of Sonata Theory and Schenkerian theory that enable the tools to be used in tandem. Chapter 2 explores monothematicism, demonstrating how Haydn's penchant for beginning the secondary key area with material from the beginning of the primary theme has profound voice-leading implications. Chapter 3 reveals that continuous expositions differ from their two-part counterparts more in design than in structure, showing how even an attempt at a medial caesura often brings stability to the secondary key in a continuous exposition. Focusing on the secondary-zone, Chapter 4 outlines Haydn's varied approaches to the trimodular block and considers techniques for delaying Essential Sonata Closure (ESC) in the recapitulation. Finally, Chapter 5 turns to yet another technique of thematic recycling, probing the rhetorical and structural role of a passage based on the primary theme that appears just before the closing zone of the recapitulation.