Menüetten Scherzoya Evrilme Sürecinde Formun İşlevleri: Beethoven Erken Dönem Piyano Sonatları

Abstract

In this study, an analysis of the formal functions of the sentences will be carried out on the movements composed in the form of the Minuet/Trio, in the minuet or scherzo genre, of the Op. 2 / 1-3, Op. 7, Op. 10 / 2-3, Op. 14 / 1 and Op. 22 early piano sonatas by Ludwig van Beethoven.

The method of the study respectively consists of the three main phases: The length of the sentence, which is the basic building block of the formal organization of the sonata, the cadence type and the modulation features reflecting the harmonic context, and the formal function of the sentence that emerges with its formal structure.

The analysis of formal function of the sentences in the minuet sections of Beethoven's early sonatas can give clues about the formation process of the composer's style, as well as about observing the evolution of the scherzo form through the minuet form. The obtained results show that

- While the exposition section of Minuet is generally a stable structure in terms of the formal functions of the sentence, it can be modified in the scherzo form.

- One of the formal applications adding an innovational contribution to the scherzo is having the repetition of variation written with notes instead of the ternary binary appearance, which is unique to the minuet form.

- Although the exposition section of the trio consists of sentences that undertake the function of presenting a theme, the contrasting middle section of the trio almost acts as a laboratory for the composer, and it is a common situation that the composer prefers the repetition of variation instead of repetition with repeat signs.

- Also, when there are sentences containing the fragmentation of the basic idea at the beginning of the contrasting middle section, the appearance of "opened" antecedent + consequent phrase occurs.