Berger, Melvin, Guide to Sonatas: Music for One or Two Instruments (New York: Anchor Books, 1991)Google Scholar

Bockmaier, Claus and Mauser, Siegfried (eds.), Die Sonate: Formen instrumentaler Ensemblemusik, Handbuch der musikalischen Gattungen, 5 (Laaber Verlag, 2005)Google Scholar

Edler, Arnfried, Gattungen der Musik für Tasteninstrumente, Handbuch der musikalischen Gattungen, 7, 3 vols (Laaber: Laaber Verlag, 1997–2004)Google Scholar

Hinrichsen, Hans-Joachim, ‘Sonata/Sonate’, in Handwörterbuch der musikalischen Terminologie (Stuttgart: Franz Steiner Verlag, 1996)Google Scholar

Mangsen, Sandra, Irving, John, Rink, John and Griffiths, Paul, ‘Sonata’, in The New Grove, 2nd edn., eds. Stanley Sadie and John Tyrrell (London: Macmillan, 2001), 23, 671–88Google Scholar

Newman, William S., The History of the Sonata Idea, vol. 1: The Sonata in the Baroque Era (Chapel Hill, NC: University of North Carolina Press, 1959)Google Scholar

Newman, William S., vol. 2: The Sonata in the Classical Era (Chapel Hill, NC: University of North Carolina Press, 1963)Google Scholar

Newman, William S., vol. 3: The Sonata since Beethoven (Chapel Hill, NC: University of North Carolina Press, 1969)Google Scholar

Newman, William S., Re-edition of all three volumes, New York: W. W. Norton, 1972; several reprints

Brossard, Sébastien, Dictionaire de musique (Paris: Ballard, 1703; reprint: Amsterdam; Antiqua, 1964); English translation as James Grassineau, A Musical Dictionary […] A new edition, to which is added an appendix, selected from the Dictionnaire de musique of M. Rousseau: containing all the new improvements in music, etc. (London: J. Robson, 1769; reprint: New York: Broude Brothers, 1966)Google Scholar

Mattheson, Johann, Der vollkommene Capellmeister (Hamburg: C. Herold, 1739; reprint: Kassel: Bärenreiter, 1991); English translation with critical commentary by Ernest C. Harriss (Ann Arbor, MI: UMI Research Press, 1981)Google Scholar

North, Roger, Memoirs of Musick, ed. Rimbault, Edward F. (London: George Bell, 1846; reprint: Hildesheim: Olms, 2004)Google Scholar

Praetorius, Michael, Syntagma Musicum, vol. 3 (Wolfenbüttel; Johannes Richter, 1619; reprint: Kassel: Bärenreiter, 2001); English translation ed. Jeffery Kite-Powell (Oxford University Press, 2004)Google Scholar

Scheibe, Johann Adolph, Critischer Musikus (Leipzig: Breitkopf, 1745; reprint: Hildesheim: Olms, 1970)Google Scholar

Allsop, Peter, Arcangelo Corelli. New Orpheus of our Times (Oxford University Press, 1999)Google Scholar

Allsop, Peter, The Italian Trio Sonata from its Origins until Corelli (Oxford: Clarendon, 1992)Google Scholar

Barnett, Gregory Richard, Bolognese Instrumental Music, 1660–1710: Spiritual Comfort, Courtly Delight, and Commercial Triumph (Aldershot: Ashgate, 2008)Google Scholar

Bates, Carol Henry, ‘The Early French Sonata for Solo Instruments: A Study in Diversity’, in Recherches sur la musique Française classique, 27 (1991), 71–98Google Scholar

Best, Terence, ‘Handel's Solo Sonatas’, in Music & Letters, 58 (1977), 430–8CrossRefGoogle Scholar

Bonta, Stephen, The Church Sonatas of Giovanni Legrenzi (Ph.D. thesis, Harvard University, 1964)Google Scholar

Dell'Antonio, Andrew, Syntax, Form and Genre in Sonatas and Canzonas 1621–1635 (Lucca: Libreria Musicale Italiana, 1997)Google Scholar

Flannery, Matthew, A Chronological Order for the Keyboard Sonatas of Domenico Scarlatti, 1685–1757 (Lewiston, NY, and Lampeter: Edwin Mellen Press, 2004)Google Scholar

Heidlberger, Frank, Canzon da sonar. Studien zu Terminologie, Gattungsproblematik und Stilwandel in der Instrumentalmusik Oberitaliens um 1600, Würzburger Musikhistorische Beiträge, 19, 2 vols (Tutzing: Schneider, 2000)Google Scholar

Hogwood, Christopher, The Trio Sonata, BBC Music Guides (London: BBC, 1979)Google Scholar

Lester, Joel, Bach's Works for Solo Violin: Style, Structure, Performance (Oxford University Press, 1999, 2003)CrossRefGoogle Scholar

Mangsen, Sandra, ‘The Sonata da Camera before Corelli: A Renewed Search’, in Music & Letters, 76 (1995), 19–31CrossRefGoogle Scholar

Schulenberg, David, ‘The Sonate auf Concertenart: A Postmodern Invention?’ in Bach Perspectives, 7 (2008), 55–96Google Scholar

Selfridge-Field, Eleanor, Venetian Instrumental Music from Gabrieli to Vivaldi (Oxford: Blackwell, 1975)Google Scholar

Swack, Jeanne R., ‘On the Origins of the Sonate auf Concertenart’, in JAMS, 46 (1993), 369–414Google Scholar

Williams, Peter, The Organ Music of J. S. Bach (Cambridge University Press, 1980)Google Scholar

Zohn, Steven David, Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works (Oxford University Press, 2008)CrossRefGoogle Scholar

Brossard, Sébastien, Dictionaire de musique (Paris: Ballard, 1703; reprint: Amsterdam; Antiqua, 1964); English translation as James Grassineau, A Musical Dictionary […] A new edition, to which is added an appendix, selected from the Dictionnaire de musique of M. Rousseau: containing all the new improvements in music, etc. (London: J. Robson, 1769; reprint: New York: Broude Brothers, 1966)Google Scholar

Mattheson, Johann, Der vollkommene Capellmeister (Hamburg: C. Herold, 1739; reprint: Kassel: Bärenreiter, 1991); English translation with critical commentary by Ernest C. Harriss (Ann Arbor, MI: UMI Research Press, 1981)Google Scholar

North, Roger, Memoirs of Musick, ed. Rimbault, Edward F. (London: George Bell, 1846; reprint: Hildesheim: Olms, 2004)Google Scholar

Praetorius, Michael, Syntagma Musicum, vol. 3 (Wolfenbüttel; Johannes Richter, 1619; reprint: Kassel: Bärenreiter, 2001); English translation ed. Jeffery Kite-Powell (Oxford University Press, 2004)Google Scholar

Scheibe, Johann Adolph, Critischer Musikus (Leipzig: Breitkopf, 1745; reprint: Hildesheim: Olms, 1970)Google Scholar

Allsop, Peter, Arcangelo Corelli. New Orpheus of our Times (Oxford University Press, 1999)Google Scholar

Allsop, Peter, The Italian Trio Sonata from its Origins until Corelli (Oxford: Clarendon, 1992)Google Scholar

Barnett, Gregory Richard, Bolognese Instrumental Music, 1660–1710: Spiritual Comfort, Courtly Delight, and Commercial Triumph (Aldershot: Ashgate, 2008)Google Scholar

Bates, Carol Henry, ‘The Early French Sonata for Solo Instruments: A Study in Diversity’, in Recherches sur la musique Française classique, 27 (1991), 71–98Google Scholar

Best, Terence, ‘Handel's Solo Sonatas’, in Music & Letters, 58 (1977), 430–8CrossRefGoogle Scholar

Bonta, Stephen, The Church Sonatas of Giovanni Legrenzi (Ph.D. thesis, Harvard University, 1964)Google Scholar

Dell'Antonio, Andrew, Syntax, Form and Genre in Sonatas and Canzonas 1621–1635 (Lucca: Libreria Musicale Italiana, 1997)Google Scholar

Flannery, Matthew, A Chronological Order for the Keyboard Sonatas of Domenico Scarlatti, 1685–1757 (Lewiston, NY, and Lampeter: Edwin Mellen Press, 2004)Google Scholar

Heidlberger, Frank, Canzon da sonar. Studien zu Terminologie, Gattungsproblematik und Stilwandel in der Instrumentalmusik Oberitaliens um 1600, Würzburger Musikhistorische Beiträge, 19, 2 vols (Tutzing: Schneider, 2000)Google Scholar

Hogwood, Christopher, The Trio Sonata, BBC Music Guides (London: BBC, 1979)Google Scholar

Lester, Joel, Bach's Works for Solo Violin: Style, Structure, Performance (Oxford University Press, 1999, 2003)CrossRefGoogle Scholar

Mangsen, Sandra, ‘The Sonata da Camera before Corelli: A Renewed Search’, in Music & Letters, 76 (1995), 19–31CrossRefGoogle Scholar

Schulenberg, David, ‘The Sonate auf Concertenart: A Postmodern Invention?’ in Bach Perspectives, 7 (2008), 55–96Google Scholar

Selfridge-Field, Eleanor, Venetian Instrumental Music from Gabrieli to Vivaldi (Oxford: Blackwell, 1975)Google Scholar

Swack, Jeanne R., ‘On the Origins of the Sonate auf Concertenart’, in JAMS, 46 (1993), 369–414Google Scholar

Williams, Peter, The Organ Music of J. S. Bach (Cambridge University Press, 1980)Google Scholar

Zohn, Steven David, Music for a Mixed Taste: Style, Genre, and Meaning in Telemann's Instrumental Works (Oxford University Press, 2008)CrossRefGoogle Scholar

Bach, Carl Philipp Emanuel, Versuch über die wahre Art das Klavier zu spielen (Berlin: G. L. Winter, 1753–62; reprint: Kassel: Bärenreiter, 1994), as Essay on the True Art of Playing Keyboard Instruments, trans. and ed. William J. Mitchell (New York and London: Eulenburg, 1974)Google Scholar

Birnbach, Heinrich, ‘Über die verschiedene Form größerer Instrumentalstücke aller Art und deren Bearbeitung’, in Berliner Allgemeine Musikalische Zeitung, 4 (1827), 269–72, 277–81, 285–7, 293–5, 361–3, 369–73Google Scholar

Boulez, Pierre, Orientations: Collected Writings, ed. Nattiez, Jean-Jacques, trans. Martin Cooper (London and Boston: Faber & Faber, 1986)Google Scholar

Boulez, Pierre, Wille und Zufall (Stuttgart and Zurich: Belser, 1977)Google Scholar

D'Indy, Vincent, Cours de composition musicale, vol. 2 (Paris: Durand, 1909)Google Scholar

Galeazzi, Francesco, Elementi teorico-pratici di musica, vol. 2 (Rome: Pilucchi Cracas, 1796)Google Scholar

Hanslick, Eduard, The Beautiful in Music, trans. Gustav Cohen, ed. Weitz, Morris (New York: Liberal Arts Press, 1957)Google Scholar

Hiller, Johann Adam, Wöchentliche Nachrichten und Anmerkungen, die Musik betreffend, vol. 3 (Leipzig: Zeitungs-Expedition, 1768; reprint: Hildesheim: Olms, 1970)Google Scholar

Hoffmann, E. T. A, ‘Grande Sonate pour le Pianoforte […] par J. F. Reichardt’, in Allgemeine Musikalische Zeitung, 16 (1814), 344–50Google Scholar

Hoffmann, E. T. A, Musical Writings: Kreisleriana. The Poet and the Composer, Music Criticism, trans. Martyn Clarke, ed. Charlton, David (Cambridge University Press, 1989)Google Scholar

Ives, Charles, Essays before a Sonata, The Majority and Other Writings, ed. Boatwright, Howard (New York/London: W. W. Norton, 1970)Google Scholar

Koch, Heinrich Christoph, Versuch einer Anleitung zur Composition, vol. 3 (Leipzig: Adam Friedrich Böhme, 1793; reprint: Hildesheim: Olms, 1969); partial English translation as Introductory Essay on Composition: The Mechanical Rules of Melody, Sections 3 and 4, trans. Nancy Kovaleff Baker, Music Theory Translation Series (New Haven, CT and London: Yale University Press, 1983)Google Scholar

Köhler, Louis, ‘Franz Liszt, An Robert Schumann. Sonate für das Pianoforte’, in Neue Zeitschrift für Musik, 41 (1854), 70–2Google Scholar

Marx, Adolf Bernhard, Die Lehre von der musikalischen Komposition praktisch theoretisch, 4 vols (Leipzig: Breitkopf & Härtel, 1837–47), partly translated in A. B. Marx, Musical Form in the Age of Beethoven: Selected Writings on Theory and Method, ed. and trans. Scott Burnham, Cambridge Studies in Music Theory and Analysis, vol. 12 (Cambridge University Press, 1997)Google Scholar

Parry, Charles Hubert Hastings, ‘Sonata’, in A Dictionary of Music and Musicians, ed. Grove, George (London: Macmillan, 1883), 3, 554–83Google Scholar

Quantz, Johann Joachim, Versuch einer Anweisung die Flöte traversiere zu spielen (Berlin: Johann Friedrich Voß, 1752; reprint: Kassel: Bärenreiter, 1992 and 2004); English translation as On Playing the Flute, trans. and ed. Reilly, Edward R. (London: Faber & Faber, 1966)Google Scholar

Reicha, Anton, Traité de haute composition (Paris: Zetter & Cie., 1824–6); German translation as Vollständiges Lehrbuch der musikalischen Composition, trans. and ed. Carl Czerny, 4 vols (Vienna: Diabelli, [1832])Google Scholar

Riemann, Hugo, Große Kompositionslehre, vol. 1: Der homophone Satz (Berlin and Stuttgart: Spemann, 1902)Google Scholar

Riepel, Joseph, Anfangsgründe zur musicalischen Setzkunst, 5 vols (vol. 1: Regensburg and Vienna: Emmerich F. Bader and Augsburg: Johann J. Lotter, 1752; vol. 2: Regensburg: J. L. Montag, 1755; vol. 3: Regensburg: J. L. Montag, 1757; vol. 4: Augusburg: Johann J. Lotter, 1765); reprinted as Sämtliche Schriften zur Musiktheorie, ed. Thomas Emmerig, Wiener Musikwissenschaftliche Beiträge, 20/1 (Vienna: Böhlau, 1996)Google Scholar

Rousseau, Jean-Jacques, Dictionnaire de musique (Paris: Veuve Duchesne, 1768; reprint: Hildesheim: Olms, 1969); English version as A Complete Dictionary of Music: Consisting of a Copious Explanation of all Words Necessary to a True Knowledge and Understanding of Music, trans. William Waring (London: J. Murray, 1779; reprint: New York: AMS Press, 1975)Google Scholar

Schmitz, Arnold, Beethovens ‘Zwei Prinzipe’ (Berlin and Bonn: Ferdinand Dümmlers Verlagsbuchhandlung, 1923)Google Scholar

Schoenberg, Arnold, ‘Brahms the Progressive’, in Style and Idea, ed. Newlin, Dika (New York: Philosophical Library, 1950), 398–441Google Scholar

Schubart, Christian Friedrich Daniel, Ideen zu einer Ästhetik der Tonkunst (Vienna: J. V. Degen, 1806; reprint: Hildesheim: Olms, 1990)Google Scholar

Schumann, Robert, Music and Musicians: Essays and Criticisms by Robert Schumann, trans. and ed. Ritter, Fanny Raymond, second series (London: William Reeves, 1880)Google Scholar

Allorto, Riccardo, Le sonate per pianoforte di Muzio Clementi: studio critico e catalogo tematico (Florence: Leo S. Olschki, 1959)Google Scholar

Barford, Philip, The Keyboard Music of C. P. E. Bach: Considered in Relation to his Musical Aesthetic and the Rise of the Sonata Principle (London: Barrie and Rockliff, 1965)Google Scholar

Berman, Boris, Prokofiev's Piano Sonatas: A Guide for the Listener and the Performer (New Haven, CT and London: Yale University Press, 2008)CrossRefGoogle Scholar

Block, Geoffrey Holden, Ives: Concord Sonata, Piano Sonata no. 2 (‘Concord, Mass., 1840–1860’), Cambridge Music Handbooks (Cambridge University Press, 1996)CrossRefGoogle Scholar

Bonds, Mark Evan, Wordless Rhetoric: Musical Form and the Metaphor of the Oration (Cambridge, MA: Harvard University Press, 1991)CrossRefGoogle Scholar

Borris, Siegfried, ‘Die Krise der Sonate im 20. Jahrhundert’, in Musa – Mens – Musici. Im Gedenken an Walther Vetter (Leipzig: Deutscher Verlag für Musik, 1969), 361–78Google Scholar

Bowers, Faubion, Scriabin: A Biography (Mineola, NY: Dover Publications, 1996)Google Scholar

Brendel, Alfred, Alfred Brendel on Music: Collected Essays (Chicago: A Cappella, 2001)Google Scholar

Caplin, William E., Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (Oxford University Press, 2000)Google Scholar

Cone, Edward T., Musical Form and Musical Performance (New York: W. W. Norton, 1968)Google Scholar

Daverio, John, Robert Schumann: Herald of a ‘New Poetic Age’ (Oxford University Press, 1997)Google Scholar

Davidson, Michael, The Classical Piano Sonata: From Haydn to Prokofiev (London: Kahn & Averill, 2004)Google Scholar

Drake, Kenneth, The Beethoven Sonatas and the Creative Experience (Bloomington: Indiana University Press, 1994)Google Scholar

Fisk, Charles, Returning Cycles: Contexts for the Interpretation of Schubert's Impromptus and Last Sonatas (Berkeley and London: University of California Press, 2001)CrossRefGoogle Scholar

Freeman, Daniel E., ‘Lodovico Giustini and the Emergence of the Keyboard Sonata in Italy’, in Anuario musical 58 (2003), 111–38Google Scholar

Hadow, William Henry, Sonata Form (London: Novello, 1896)Google Scholar

Hamilton, Kenneth, Liszt: Sonata in B Minor, Cambridge Music Handbooks (Cambridge University Press, 1996)CrossRefGoogle Scholar

Hardy, Lisa, The British Piano Sonata: 1870–1945 (Woodbridge: Boydell Press, 2001)Google Scholar

Hepokoski, James and Darcy, Warren, Elements of Sonata Theory. Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford University Press, 2006)CrossRefGoogle Scholar

Hinrichsen, Hans-Joachim, ‘Sonatenform, Sonatenhauptsatzform’, in Handwörterbuch der musikalischen Terminologie (Stuttgart: Franz Steiner Verlag, 1996)Google Scholar

Hinrichsen, Hans-Joachim, Untersuchungen zur Entwicklung der Sonatenform in der Instrumentalmusik Franz Schuberts (Tutzing: Hans Schneider, 1994)Google Scholar

Irving, John, Mozart's Piano Sonatas: Contexts, Sources, Styles (Cambridge University Press, 1997)CrossRefGoogle Scholar

Jerold, Beverly, ‘Fontenelle's Famous Question and Performance Standards of the Day’, in College Music Symposium, 43 (2003), 150–60Google Scholar

Kämper, Dietrich, Die Klaviersonate nach Beethoven (Darmstadt: Wissenschaftliche Buchgesellschaft, 1987)Google Scholar

Kinderman, William, Mozart's Piano Music (Oxford University Press, 2006)CrossRefGoogle Scholar

Komlós, Katalin, Viennese Fortepianos and their Music: Germany, Austria and England, 1760–1800 (Oxford University Press, 1995)Google Scholar

Lockwood, Lewis, and Kroll, Mark (eds.), The Beethoven Violin Sonatas: History, Criticism, Performance (Urbana, IL: University of Illinois Press, 2004)Google Scholar

Marshall, Robert L. (ed.), Eighteenth-century Keyboard Music (New York and London: Routledge, 2003)Google Scholar

Matthews, Denis, Beethoven Piano Sonatas, BBC Music Guides (London: Ariel Music, 1986)Google Scholar

McCabe, John, Haydn Piano Sonatas, BBC Music Guides (London: Ariel Music, 1986)Google Scholar

Messing, Scott, Neoclassicism in Music: From the Genesis of the Concept through the Schoenberg/Stravinsky Polemic (Ann Arbor, MI: UMI Research Press, 1988)Google Scholar

Radcliffe, Philip, Schubert Piano Sonatas, BBC Music Guides (London: British Broadcasting Corporation, 1967)Google Scholar

Rampe, Siegbert, Mozarts Claviermusik. Klangwelt und Aufführungspraxis. Instrumente, Interpretation, Werkbesprechungen (Kassel: Bärenreiter, 1995)Google Scholar

Ratz, Erwin, Einführung in die musikalische Formenlehre (Vienna: Universal, 1973)Google Scholar

Réti, Rudolph, Thematic Patterns in Sonatas of Beethoven, ed. Cooke, Deryck (London: Faber & Faber, 1967)Google Scholar

Ritzel, Fred, Die Entwicklung der “Sonatenform” im musiktheoretischen Schrifttum des 18. und 19. Jahrhunderts (Wiesbaden: Breitkopf & Härtel, 1968)Google Scholar

Rosen, Charles, Beethoven's Piano Sonatas: A Short Companion (New Haven and London: Yale University Press, 2002)Google Scholar

Rosen, Charles, Sonata Forms (New York: W. W. Norton, 1980, 1988)Google Scholar

Rosen, Charles, The Romantic Generation (Cambridge, MA: Harvard University Press, 1998)Google Scholar

Rostal, Max, Beethoven: The Sonatas for Piano and Violin: Thoughts on their Interpretation, trans. Horace and Anna Rosenberg (London: Toccata Press, 1985)Google Scholar

Salmon, John, The Piano Sonatas of Carl Loewe (New York: Peter Lang, 1996)Google Scholar

Schulte-Bunert, Dieter, Die deutsche Klaviersonate des zwanzigsten Jahrhunderts, Kölner Beiträge zur Musikforschung, 24 (Regensburg: Bosse, 1963)Google Scholar

Scott, Stuart, Skryabin and the Piano: An Introduction to Alexander Skryabin and his Piano Music (Sale: S. Scott, 1999)Google Scholar

Shedlock, J. S., The Pianoforte Sonata, its Origin and Development (New York: Da Capo Press, 1964)Google Scholar

Somfai, László, The Keyboard Sonatas of Joseph Haydn: Instruments and Performance Practice, Genres and Styles (Chicago and London: University of Chicago Press, 1995)Google Scholar

Stanley, Glenn, ‘Genre Aesthetics and Function: Beethoven's Piano Sonatas in their Cultural Context’, in Beethoven Forum 6 (1998), 1–29Google Scholar

Sutcliffe, W. Dean, The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-century Musical Style (Cambridge University Press, 2003)CrossRefGoogle Scholar

Todd, R. Larry (ed.), Nineteenth-century Piano Music (New York: Schirmer Books, 1990; 2nd edn. New York and London: Routledge, 2004)Google Scholar

Tovey, Donald Francis, A Companion to Beethoven's Pianoforte Sonatas (Bar-to-bar Analysis) (London: Associated Board of the Royal Schools of Music, 1931; rev. edn. 1998)Google Scholar

Webster, James, ‘Sonata Form’, in The New Grove, 2nd edn., eds. Sadie, Stanley and Tyrrell, John (London: Macmillan, 2001), 23, 688–701Google Scholar

Wheeldon, Marianne, ‘Debussy and La sonate cyclique’, in Journal of Musicology, 22 (2005), 644–79CrossRefGoogle Scholar

Wiesenfeldt, Christiane, Zwischen Beethoven und Brahms. Die Violoncello-Sonate im 19. Jahrhundert (Kassel and London: Bärenreiter, 2006)Google Scholar

Winter, Robert S., ‘The Bifocal Close and the Evolution of the Viennese Classical Style’, in JAMS, 42 (1989), 275–337Google Scholar

Bach, Carl Philipp Emanuel, Versuch über die wahre Art das Klavier zu spielen (Berlin: G. L. Winter, 1753–62; reprint: Kassel: Bärenreiter, 1994), as Essay on the True Art of Playing Keyboard Instruments, trans. and ed. William J. Mitchell (New York and London: Eulenburg, 1974)Google Scholar

Birnbach, Heinrich, ‘Über die verschiedene Form größerer Instrumentalstücke aller Art und deren Bearbeitung’, in Berliner Allgemeine Musikalische Zeitung, 4 (1827), 269–72, 277–81, 285–7, 293–5, 361–3, 369–73Google Scholar

Boulez, Pierre, Orientations: Collected Writings, ed. Nattiez, Jean-Jacques, trans. Martin Cooper (London and Boston: Faber & Faber, 1986)Google Scholar

Boulez, Pierre, Wille und Zufall (Stuttgart and Zurich: Belser, 1977)Google Scholar

D'Indy, Vincent, Cours de composition musicale, vol. 2 (Paris: Durand, 1909)Google Scholar

Galeazzi, Francesco, Elementi teorico-pratici di musica, vol. 2 (Rome: Pilucchi Cracas, 1796)Google Scholar

Hanslick, Eduard, The Beautiful in Music, trans. Gustav Cohen, ed. Weitz, Morris (New York: Liberal Arts Press, 1957)Google Scholar

Hiller, Johann Adam, Wöchentliche Nachrichten und Anmerkungen, die Musik betreffend, vol. 3 (Leipzig: Zeitungs-Expedition, 1768; reprint: Hildesheim: Olms, 1970)Google Scholar

Hoffmann, E. T. A, ‘Grande Sonate pour le Pianoforte […] par J. F. Reichardt’, in Allgemeine Musikalische Zeitung, 16 (1814), 344–50Google Scholar

Hoffmann, E. T. A, Musical Writings: Kreisleriana. The Poet and the Composer, Music Criticism, trans. Martyn Clarke, ed. Charlton, David (Cambridge University Press, 1989)Google Scholar

Ives, Charles, Essays before a Sonata, The Majority and Other Writings, ed. Boatwright, Howard (New York/London: W. W. Norton, 1970)Google Scholar

Koch, Heinrich Christoph, Versuch einer Anleitung zur Composition, vol. 3 (Leipzig: Adam Friedrich Böhme, 1793; reprint: Hildesheim: Olms, 1969); partial English translation as Introductory Essay on Composition: The Mechanical Rules of Melody, Sections 3 and 4, trans. Nancy Kovaleff Baker, Music Theory Translation Series (New Haven, CT and London: Yale University Press, 1983)Google Scholar

Köhler, Louis, ‘Franz Liszt, An Robert Schumann. Sonate für das Pianoforte’, in Neue Zeitschrift für Musik, 41 (1854), 70–2Google Scholar

Marx, Adolf Bernhard, Die Lehre von der musikalischen Komposition praktisch theoretisch, 4 vols (Leipzig: Breitkopf & Härtel, 1837–47), partly translated in A. B. Marx, Musical Form in the Age of Beethoven: Selected Writings on Theory and Method, ed. and trans. Scott Burnham, Cambridge Studies in Music Theory and Analysis, vol. 12 (Cambridge University Press, 1997)Google Scholar

Parry, Charles Hubert Hastings, ‘Sonata’, in A Dictionary of Music and Musicians, ed. Grove, George (London: Macmillan, 1883), 3, 554–83Google Scholar

Quantz, Johann Joachim, Versuch einer Anweisung die Flöte traversiere zu spielen (Berlin: Johann Friedrich Voß, 1752; reprint: Kassel: Bärenreiter, 1992 and 2004); English translation as On Playing the Flute, trans. and ed. Reilly, Edward R. (London: Faber & Faber, 1966)Google Scholar

Reicha, Anton, Traité de haute composition (Paris: Zetter & Cie., 1824–6); German translation as Vollständiges Lehrbuch der musikalischen Composition, trans. and ed. Carl Czerny, 4 vols (Vienna: Diabelli, [1832])Google Scholar

Riemann, Hugo, Große Kompositionslehre, vol. 1: Der homophone Satz (Berlin and Stuttgart: Spemann, 1902)Google Scholar

Riepel, Joseph, Anfangsgründe zur musicalischen Setzkunst, 5 vols (vol. 1: Regensburg and Vienna: Emmerich F. Bader and Augsburg: Johann J. Lotter, 1752; vol. 2: Regensburg: J. L. Montag, 1755; vol. 3: Regensburg: J. L. Montag, 1757; vol. 4: Augusburg: Johann J. Lotter, 1765); reprinted as Sämtliche Schriften zur Musiktheorie, ed. Thomas Emmerig, Wiener Musikwissenschaftliche Beiträge, 20/1 (Vienna: Böhlau, 1996)Google Scholar

Rousseau, Jean-Jacques, Dictionnaire de musique (Paris: Veuve Duchesne, 1768; reprint: Hildesheim: Olms, 1969); English version as A Complete Dictionary of Music: Consisting of a Copious Explanation of all Words Necessary to a True Knowledge and Understanding of Music, trans. William Waring (London: J. Murray, 1779; reprint: New York: AMS Press, 1975)Google Scholar

Schmitz, Arnold, Beethovens ‘Zwei Prinzipe’ (Berlin and Bonn: Ferdinand Dümmlers Verlagsbuchhandlung, 1923)Google Scholar

Schoenberg, Arnold, ‘Brahms the Progressive’, in Style and Idea, ed. Newlin, Dika (New York: Philosophical Library, 1950), 398–441Google Scholar

Schubart, Christian Friedrich Daniel, Ideen zu einer Ästhetik der Tonkunst (Vienna: J. V. Degen, 1806; reprint: Hildesheim: Olms, 1990)Google Scholar

Schumann, Robert, Music and Musicians: Essays and Criticisms by Robert Schumann, trans. and ed. Ritter, Fanny Raymond, second series (London: William Reeves, 1880)Google Scholar

Allorto, Riccardo, Le sonate per pianoforte di Muzio Clementi: studio critico e catalogo tematico (Florence: Leo S. Olschki, 1959)Google Scholar

Barford, Philip, The Keyboard Music of C. P. E. Bach: Considered in Relation to his Musical Aesthetic and the Rise of the Sonata Principle (London: Barrie and Rockliff, 1965)Google Scholar

Berman, Boris, Prokofiev's Piano Sonatas: A Guide for the Listener and the Performer (New Haven, CT and London: Yale University Press, 2008)CrossRefGoogle Scholar

Block, Geoffrey Holden, Ives: Concord Sonata, Piano Sonata no. 2 (‘Concord, Mass., 1840–1860’), Cambridge Music Handbooks (Cambridge University Press, 1996)CrossRefGoogle Scholar

Bonds, Mark Evan, Wordless Rhetoric: Musical Form and the Metaphor of the Oration (Cambridge, MA: Harvard University Press, 1991)CrossRefGoogle Scholar

Borris, Siegfried, ‘Die Krise der Sonate im 20. Jahrhundert’, in Musa – Mens – Musici. Im Gedenken an Walther Vetter (Leipzig: Deutscher Verlag für Musik, 1969), 361–78Google Scholar

Bowers, Faubion, Scriabin: A Biography (Mineola, NY: Dover Publications, 1996)Google Scholar

Brendel, Alfred, Alfred Brendel on Music: Collected Essays (Chicago: A Cappella, 2001)Google Scholar

Caplin, William E., Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (Oxford University Press, 2000)Google Scholar

Cone, Edward T., Musical Form and Musical Performance (New York: W. W. Norton, 1968)Google Scholar

Daverio, John, Robert Schumann: Herald of a ‘New Poetic Age’ (Oxford University Press, 1997)Google Scholar

Davidson, Michael, The Classical Piano Sonata: From Haydn to Prokofiev (London: Kahn & Averill, 2004)Google Scholar

Drake, Kenneth, The Beethoven Sonatas and the Creative Experience (Bloomington: Indiana University Press, 1994)Google Scholar

Fisk, Charles, Returning Cycles: Contexts for the Interpretation of Schubert's Impromptus and Last Sonatas (Berkeley and London: University of California Press, 2001)CrossRefGoogle Scholar

Freeman, Daniel E., ‘Lodovico Giustini and the Emergence of the Keyboard Sonata in Italy’, in Anuario musical 58 (2003), 111–38Google Scholar

Hadow, William Henry, Sonata Form (London: Novello, 1896)Google Scholar

Hamilton, Kenneth, Liszt: Sonata in B Minor, Cambridge Music Handbooks (Cambridge University Press, 1996)CrossRefGoogle Scholar

Hardy, Lisa, The British Piano Sonata: 1870–1945 (Woodbridge: Boydell Press, 2001)Google Scholar

Hepokoski, James and Darcy, Warren, Elements of Sonata Theory. Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford University Press, 2006)CrossRefGoogle Scholar

Hinrichsen, Hans-Joachim, ‘Sonatenform, Sonatenhauptsatzform’, in Handwörterbuch der musikalischen Terminologie (Stuttgart: Franz Steiner Verlag, 1996)Google Scholar

Hinrichsen, Hans-Joachim, Untersuchungen zur Entwicklung der Sonatenform in der Instrumentalmusik Franz Schuberts (Tutzing: Hans Schneider, 1994)Google Scholar

Irving, John, Mozart's Piano Sonatas: Contexts, Sources, Styles (Cambridge University Press, 1997)CrossRefGoogle Scholar

Jerold, Beverly, ‘Fontenelle's Famous Question and Performance Standards of the Day’, in College Music Symposium, 43 (2003), 150–60Google Scholar

Kämper, Dietrich, Die Klaviersonate nach Beethoven (Darmstadt: Wissenschaftliche Buchgesellschaft, 1987)Google Scholar

Kinderman, William, Mozart's Piano Music (Oxford University Press, 2006)CrossRefGoogle Scholar

Komlós, Katalin, Viennese Fortepianos and their Music: Germany, Austria and England, 1760–1800 (Oxford University Press, 1995)Google Scholar

Lockwood, Lewis, and Kroll, Mark (eds.), The Beethoven Violin Sonatas: History, Criticism, Performance (Urbana, IL: University of Illinois Press, 2004)Google Scholar

Marshall, Robert L. (ed.), Eighteenth-century Keyboard Music (New York and London: Routledge, 2003)Google Scholar

Matthews, Denis, Beethoven Piano Sonatas, BBC Music Guides (London: Ariel Music, 1986)Google Scholar

McCabe, John, Haydn Piano Sonatas, BBC Music Guides (London: Ariel Music, 1986)Google Scholar

Messing, Scott, Neoclassicism in Music: From the Genesis of the Concept through the Schoenberg/Stravinsky Polemic (Ann Arbor, MI: UMI Research Press, 1988)Google Scholar

Radcliffe, Philip, Schubert Piano Sonatas, BBC Music Guides (London: British Broadcasting Corporation, 1967)Google Scholar

Rampe, Siegbert, Mozarts Claviermusik. Klangwelt und Aufführungspraxis. Instrumente, Interpretation, Werkbesprechungen (Kassel: Bärenreiter, 1995)Google Scholar

Ratz, Erwin, Einführung in die musikalische Formenlehre (Vienna: Universal, 1973)Google Scholar

Réti, Rudolph, Thematic Patterns in Sonatas of Beethoven, ed. Cooke, Deryck (London: Faber & Faber, 1967)Google Scholar

Ritzel, Fred, Die Entwicklung der “Sonatenform” im musiktheoretischen Schrifttum des 18. und 19. Jahrhunderts (Wiesbaden: Breitkopf & Härtel, 1968)Google Scholar

Rosen, Charles, Beethoven's Piano Sonatas: A Short Companion (New Haven and London: Yale University Press, 2002)Google Scholar

Rosen, Charles, Sonata Forms (New York: W. W. Norton, 1980, 1988)Google Scholar

Rosen, Charles, The Romantic Generation (Cambridge, MA: Harvard University Press, 1998)Google Scholar

Rostal, Max, Beethoven: The Sonatas for Piano and Violin: Thoughts on their Interpretation, trans. Horace and Anna Rosenberg (London: Toccata Press, 1985)Google Scholar

Salmon, John, The Piano Sonatas of Carl Loewe (New York: Peter Lang, 1996)Google Scholar

Schulte-Bunert, Dieter, Die deutsche Klaviersonate des zwanzigsten Jahrhunderts, Kölner Beiträge zur Musikforschung, 24 (Regensburg: Bosse, 1963)Google Scholar

Scott, Stuart, Skryabin and the Piano: An Introduction to Alexander Skryabin and his Piano Music (Sale: S. Scott, 1999)Google Scholar

Shedlock, J. S., The Pianoforte Sonata, its Origin and Development (New York: Da Capo Press, 1964)Google Scholar

Somfai, László, The Keyboard Sonatas of Joseph Haydn: Instruments and Performance Practice, Genres and Styles (Chicago and London: University of Chicago Press, 1995)Google Scholar

Stanley, Glenn, ‘Genre Aesthetics and Function: Beethoven's Piano Sonatas in their Cultural Context’, in Beethoven Forum 6 (1998), 1–29Google Scholar

Sutcliffe, W. Dean, The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-century Musical Style (Cambridge University Press, 2003)CrossRefGoogle Scholar

Todd, R. Larry (ed.), Nineteenth-century Piano Music (New York: Schirmer Books, 1990; 2nd edn. New York and London: Routledge, 2004)Google Scholar

Tovey, Donald Francis, A Companion to Beethoven's Pianoforte Sonatas (Bar-to-bar Analysis) (London: Associated Board of the Royal Schools of Music, 1931; rev. edn. 1998)Google Scholar

Webster, James, ‘Sonata Form’, in The New Grove, 2nd edn., eds. Sadie, Stanley and Tyrrell, John (London: Macmillan, 2001), 23, 688–701Google Scholar

Wheeldon, Marianne, ‘Debussy and La sonate cyclique’, in Journal of Musicology, 22 (2005), 644–79CrossRefGoogle Scholar

Wiesenfeldt, Christiane, Zwischen Beethoven und Brahms. Die Violoncello-Sonate im 19. Jahrhundert (Kassel and London: Bärenreiter, 2006)Google Scholar

Winter, Robert S., ‘The Bifocal Close and the Evolution of the Viennese Classical Style’, in JAMS, 42 (1989), 275–337Google Scholar