Contents -- Terms and Abbreviations -- About the Authors -- ONE: Contexts -- Differing Approaches to Sonata Form -- The War against the Textbooks -- Sonata Theory: Introductory Remarks -- TWO: Sonata Form as a Whole: Foundational Considerations -- Exposition -- Development -- Recapitulation -- Repetition Schemes -- THREE: The Medial Caesura and the Two-Part Exposition -- The Two-Part Exposition -- The Medial Caesura (MC): Definitions and Overview -- The Medial Caesura: Harmonic Defaults -- The Medial Caesura: Common Characteristics -- The Deployment Sequence of Medial Caesura Options -- Caesura-Fill (CF) -- Medial Caesura Declined -- Deformation: The Blocked Medial Caesura -- Troubleshooting MC Identifications -- FOUR: The Continuous Exposition -- Continuous Exposition Subtype 1 ("Expansion-Section" Subtype) -- Continuous Exposition Subtype 2: Early PAC in the New Key Followed by (Varied) Reiterations of the Cadence -- Difficult Cases: Incipient or Not-Fully-Realized Medial Caesuras -- FIVE: The Primary Theme (P) -- Structure -- Thematic/Modular Designations: Numberings -- Exceptions in Thematic Numberings -- "Zero-Modules": General Considerations -- Tonal Under- and Overdetermination -- Some Special P-Types -- P as Grand Antecedent -- Mozartian "Loops": A Specialized Variant of the Sentence -- P[sup(0)]- and P[sup(1.0)]-Modules/Themes -- The "Circular" 8- f7- 6- n7- 8 Pattern in P-Space -- P[sup(gen)] and P[sup(tel)] Themes -- SIX: The Transition (TR) -- When Does a Transition Begin? -- Common Transition Strategies: The Independent and Developmental Types -- The Independent (Separately Thematized) Transition -- The Developmental Transition -- Common Transition Strategies: The "Dissolving" Types -- The Dissolving Restatement -- The Dissolving Consequent.

Period with Dissolving-Consequent Restatement (or Sentence with Dissolving-Continuation Restatement) -- The Dissolving P-Codetta: Reiterated Cadences (Dissolving Cadential Reinforcement) -- The Dissolving P-Codetta: Tonic Prolongation via the "Circular" 8- f7- 6- n7- 8 Model -- Sentence with Dissolving Continuation Module -- The Dissolving Hybrid -- Larger, Rounded Structure (ABA', aa'ba'') with Dissolving Reprise -- Special Minor-Mode and Other Mixed Cases -- Premature or Delayed Tutti Affirmations -- Other Problematic TR-Issues -- Tutti-Affirmation Full Restatements: One or More I:PACs within TR -- TR Rhetoric Lacking? The Modulating Consequent -- TR Rhetoric Lacking? Multiple Phrases Ending HC Eventually Lead to S -- TR Rhetoric Lacking? P Ends with I:PAC or I:IAC and S Follows Directly -- TR as Energy-Loss? -- SEVEN: The Secondary Theme (S) and Essential Expositional Closure (EEC): Initial Considerations -- Historical Discussions of P- and S-Space -- Tonal Choices for S -- Essential Expositional Closure: The First-PAC Rule -- Proportions of S- and C-Space -- Structure -- Theme Types within Allegro Movements -- The Bustling, Staccato, Energetically Galant, or Jauntily Self-Confident S -- The Lyrically "Singing" or Gracefully Cantabile S -- The P-Based S -- S as "Contrasting Derivation" from P -- The Forte S -- S as Virtuosic Figuration -- The "Learned-Style" or Fugal/Imitative S -- The Multimodular S (MMS): Lengthy S-Themes (or S-Modular Groups) -- P- or TR-Material in the Interior of S-Zones -- Minor-Mode Modules within S -- S[sup(0)] and S[sup(1.0)] Themes -- S[sup(0)] or S[sup(1.0)] Following a V:HC Medial Caesura (or III:HC in Minor-Mode Sonatas) -- S[sup(0)] or S1.0 Following a I:HC Medial Caesura in Major-Mode Sonatas -- Other S[sup(0)] and S[sup(1.0)] Types -- Additional Issues within S-Space -- Gendered S-Themes? (Masculine/Feminine).

Some Schenkerian Implications -- EIGHT: S-Complications: EEC Deferral and Apparent Double Medial Caesuras (TMB) -- Retrospective Reopenings of the First PAC with Following Material -- Repetition of the Immediately Preceding S-Melody or Its Concluding Portion -- Persistence of S-Material Past the First PAC -- Revitalization of a Portion of S- (or FS-) Material after Starting a New Module -- Production of an Additional MC-Effect or Nonelided Cadence Shortly into Presumed C-Space -- Problems with a Potential First PAC: Ineffective or Weakened Cadences -- The First PAC Arrives "Too Early" -- The Implied S-Zone Is Contextually Too Underdeveloped -- Thematic "Loops" -- Substitution of an Imperfect Authentic Cadence (IAC) for the More Usual PAC -- The Evaded PAC -- The Attenuated PAC -- Apparent Double Medial Caesuras: The Trimodular Block (TMB) -- Deformation: Failed Expositions -- No Secured EEC within the Exposition -- Failed Exposition: EEC-Substitute in the Wrong Key -- NINE: The Closing Zone (C) -- The "Non-S-ness" of C -- Exceptions -- C as S-Aftermath -- C-Theme Types -- Codetta-Module[s] -- The P-Based C -- The TR-Based C -- New Theme as C -- Crescendo-Module as Onset of C -- Concluding C-Module as Piano Afterthought -- C[sup(0)] Themes -- S[sup(C)] Themes: Apparent C-Zones in the Absence of an EEC -- The Retransition -- TEN: The Development (Developmental Space) -- Tonal Layout -- The Development as a Whole -- Substitutes for V[sub(A)] at the End of the Development (Lower-Level Defaults) -- Rhetorical/Thematic Layout: Developmental Rotations -- Developmental Rotations: First Principles -- The Onset of the Development -- P-Material as the Norm -- Fifth-Descents -- Episodic Openings: "Writing Over" -- C-Based Openings -- S-Based Openings -- Developmental Rotation Types -- Half-Rotations: P-TR -- Half-Rotations: S-C? -- Double Rotations.

Double or Triple Half-Rotations -- Episodic Interpolations or Substitutes in the Center of the Developmental Space -- Tonic-Centered Episodes -- Introductory Material in Developments -- "Slow-Movement" Episodes within Allegro-Tempo Movements (or Slow Movement as Development) -- The "False-Recapitulation Effect" -- The Continuum of Haydn's "False-Recapitulation Effect" -- The Off-Tonic False-Recapitulation Effect -- Interpreting Developments: Models for Analysis -- Topical Dramas: The Ordering of Established Rhetorical "Topics" -- Sequence-Blocks: The Ratz-Caplin Model -- Sonata Theory: Overview of Typical Pathways for the Developmental Space -- ELEVEN: The Recapitulation (Recapitulatory Space -- Recapitulatory Rotation) -- What Qualifies as a Recapitulation? -- ESC: Tonic Presence and the Precipitation of the Tonic as a Crystallized Reality -- Recompositions, Reorderings, Interpolations -- The Recapitulatory TR -- Altered MC Treatments in the Recapitulation -- "Wrong-Key" Starts for S -- The Crux -- Correspondence Measures and the Crux -- Correspondence Measures and Referential Measures -- The "Sonata Principle": A Problematic Concept -- What Needs to Be Resolved in the Recapitulation? -- The Fallacies of "Closer Relation" and a "Resolving" Fifth-Transposition -- Nonresolving Recapitulations: S Does Not Attain the ESC -- Recapitulations with an S That Fails -- Truncated Recapitulations: Suppression of the S-C Block -- The Larger Role of the Recapitulation within the Sonata -- Tonal Potential, Tonic Presence -- Narrative Implications: The Sonata as Metaphor for Human Action -- TWELVE: Non-Normative Openings of the Recapitulatory Rotation: Alternatives and Deformations -- Recapitulations That Appear to Begin after P[sup(1.1)] -- The "Disjunct" Recapitulation?.

Non-"Disjunct" Recapitulations That Appear to Begin with Tonic- P[sup(1.2)], P[sup(2)], or TR -- Rhetorical Recapitulations Beginning in the Parallel Mode -- Rhetorical Recapitulations Beginning in a Nontonic Key -- False Starts -- Recapitulatory Rotations That Begin in IV -- Recapitulatory Rotations That Begin in vi, VI, or fVI -- Recapitulatory Rotations That Begin in V -- Recapitulatory Rotations That Begin in Other Keys -- Double-Recapitulation Effects? -- THIRTEEN: Parageneric Spaces: Coda and Introduction -- The Coda -- Definitions, Traditional Views -- Thematic-Rhetorical Material in Codas: Rotational Implications -- Discursive Codas -- Characteristic Functions of the Discursive Coda -- Expanded C-Space and Coda-Rhetoric Interpolation (CRI) -- The Introduction -- Slow Introductions and Genre or Movement Types -- Characteristic Zones within a Slow Introduction -- Variants and Later Deformations of the "Slow" Introduction -- Expressive or Representational Functions -- The Introduction-Coda Frame -- FOURTEEN: Sonata Form in Minor Keys -- The Extra Burden of Minor-Mode Sonatas -- Major and Minor as Binary Opposites (Positive and Negative) -- Expositions in the Minor Mode: EEC in III -- Recapitulations and Codas in Sonatas with Expositions of the i-III Type -- Expositions in the Minor Mode: EEC in v (the Minor Dominant) -- (Nineteenth-Century) Expositions in the Minor Mode: EEC in VI -- FIFTEEN: The Three- and Four-Movement Sonata Cycle -- Number of Movements -- First Movement -- Slow Movement -- Key Choice in Slow Movements: Major-Mode Sonatas -- Key Choice in Slow Movements: Minor-Mode Sonatas -- Minuet/Scherzo -- Potential Correspondences with the First Movement -- Expressive Connotations: Minuets and Scherzos -- Major and Minor Modes -- The Nontonic Minuet/Scherzo -- The Key and Character of the Trio.

Deferral of the ESC in Compound Ternary (ABA) Forms.