Charles Rosen says of sonata form: "[It] is not a definite form like a minuet, a da capo aria, or a French overture; it is, like the fugue, a way of writing, a feeling for proportion, direction, and texture rather than a pattern."

本书为公版书，为不受著作权法限制的作家、艺术家及其它人士发布的作品，供广大读者阅读交流。汇聚授权电子版权。

Everything you always wanted to know about the sonata, but were afraid to ask, answered at surprising length and with copious musical illustrations. Sonatas are generally thought of as being always organized into exposition, development, and recapitulation, but, writes Rosen, "...it is very dubious that a unique sonata form can be so defined even for a single decade of the late...(展开全部)

Charles Rosen says of sonata form: "[It] is not a definite form like a minuet, a da capo aria, or a French overture; it is, like the fugue, a way of writing, a feeling for proportion, direction, and texture rather than a pattern."

本著作为音乐类学术著作，内容为中英文双语表述。作品对勃拉姆斯第三钢琴奏鸣曲的调性意义进行了深度剖析，提出了新颖大胆的理论观点。书稿分三部分对勃拉姆斯作品进行阐述分析。一是对作品《c小调第一交响曲》《F大调第三交响曲》等进行片断赏析，帮助读者在欣赏其音乐时展开联想的辅助点，概括其整体作品风格。二是结合作品细节，探讨勃拉姆斯对音乐细节设计的技巧与构思。三是简要介绍勃拉姆斯的艺术创作生涯及其理想化的创作初衷，通过艺术作品本身与艺术家人格相结合，探讨勃拉姆斯对艺术创作的非凡才华及充满灵性的艺术光辉。