目次

Preface i; Foreword v; Acknowledgments vii; Introduction 1; A. AQuestion of Scale: Microcosmic Versus Macrocosmic Analysis 3; B. The PrimarySources 6; A Few Details of the Parma-Venice Transcription Process 7; C. Howdo Sequence Differences Among the Sources Affect Pattern Integrity? 8; D. TheFlannery Catalog 9; A Few Details of Translating Between Kirkpatrick andFlannery 9; Chapter I: Background to the Analysis of Chronological Order 11;A. Existing Proposals for Organizing the Sonatas 11; B. ChronologicalDescriptions of Local Sequence Phenomena 20; 1. Doubts about the Evidence forChronological Order 23; 2. Chronological Order and Scarlatti's Work Habits26; 3. Biographical Information and Sonata Groups 27; C. A Few Distinctionsand Qualifications 30; Three Qualifications 31; The Premise 31; The Condition31; The Limitation 32; Chapter II: Phase I Sonata Groups (1-4) 33; A. SonataGroups: An Overview 33; B. Sonata Groups: Defining Criteria 34; C. Phase ISonata Groups 37; Sonata Group 1: K 58-94 [F1 1-36] 37; Sonata Group 2: K31-42 [F1 37-48] 40; Sonata Group 3: K 1-30 [F1 49-78] 42; A Note on theSequence Position of Sonata Group 3 43; Sonata Group 4: K 43-57 [F1 79-93]56; A Note on Sequencing Sonata Groups 1-4 58; Chapter III: Phase II SonataGroups (5-8) 61; Sonata Group 5: K 96-140 [F1 eq 94-138] 61; Sonata Group 6:K 141-147 [F1 139-145] 63; Sonata Group 7: K 148-155 [F1 146-153] 66; SonataGroup 8: K 156-187 [F1 154-185] 66; A Note on Scarlatti and the Piano 69;Chapter IV: Phase III Sonata Groups (9-17) 73; Sonata Group 9: K 188-220 [F1eq 186-eq 219] 73; Sonata Group 10: K 221-239 [F1 220-236] 74; Sonata Group11: K 240-264 [F1 237-263] 76; Sonata Group 12: K 265-286 [F1 eq 264-eq 285]77; Sonata Group 13: K 287-288 [F1 286-287] 79; Sonata Group 14: K 289-303[F1 288-302] 79; Sonata Group 15: K 304-313 [F1 303-312] 80; Sonata Group 16:K 314-336 [F1 313-339] 81; Sonata Group 17: K 337-355 [F1 340-eq 354] 82;Chapter V: Phase IV Sonata Groups (18-26) 83; Sonata Group 18: K 358-373,414-417 [F1 eq 355-374] 84; Sonata Group 19: K 374-421, 356-357, 430 [F1375-421] 85; A Note on the Sequence Location of Sonatas K 356-357 86; SonataGroup 20: K 422-440 [F1 eq 422-eq 439] 90; Sonata Group 21: K 441-459 [F1440-458] 91; Sonata Group 22: K 460-487 [F1 459-486] 92; Sonata Group 23: K488-500 [F1 487-499] 96; Sonata Group 24: K 501-519 [F1 500-518] 97; A Noteon Diversity and Integration in Group 24 Sonatas 99; Sonata Group 25: K520-531 [F1 519-530] 101; Sonata Group 26: K 532-555 [F1 531-554] 102;Chapter VI: Contingent Broad-Scale Occurrence Patterns (1-14) 105; A. TheThree Types of Occurrence Pattern 105; B. Historically Referential OccurrencePatterns 107; Occurrence Pattern 1: The Four Phases and Scarlatti's MusicalDevelopment 107; Occurrence Pattern 2: The Low-Numbered Locations ofBaroque-Style Pieces 109; Occurrence Pattern 3: From Minor to Major Mode 110;Occurrence Pattern 4: A Rising Use of New Style Key Signatures? 112;Occurrence Pattern 5: Sonata Compasses Expand Over the Sequence 114; Summaryof Occurrence Pattern 5 122; A Note on Organology: Pianos, Harpsichords,Compasses 123; A Note on Scarlatti's Style: Radical versus Conservative 126;Summary of Part B 129; C. Interrelated Occurrence Patterns 130; OccurrencePatterns 6 and 7: Transpositions and Recompositions Decline over theSequence; their Inverse Relationship to Sonata Compasses 130; OccurrencePatterns 8, 9, 10: Andantes, Cantabiles, and their Relationship 132;Occurrence Pattern 11: The Central Gap 135; Occurrence Patterns 12, 13, 14:Presto, Vivo, and their Relationship 140; Chapter VII: IndependentBroad-Scale Occurrence Patterns (15-26) 145; Occurrence Pattern 15: The Gapin Prestos and Vivos Combined 145; Occurrence Pattern 16: Handcrossings 146;Occurrence Pattern 17: Tremolos 148; Occurrence Pattern 18: Acciaccaturas149; A Note on the Sequence Location of Sonatas K 414-416 [F1 361-363] 154;Occurrence Pattern 19: 5-4 Harmonies 155; Occurrence Pattern 20:Allegrissimos 156; Occurrence Pattern 21: Minuets 157; Occurrence Pattern 22:Fugues 161; Occurrence Pattern 23: Long-Duration Sonatas 161; OccurrencePattern 24: Allegrettos 162; Occurrence Pattern 25: Unusual Tempo Indications163; Occurrence Pattern 26: Rhythm Sonatas 164; Occurrence Patterns 27-28:Sonata Combinations; Deconfigured Combinations 165; Chapter VIII: TwoAdditional Occurrence Patterns: Combinations and their Deconfigurations (27,28) 167; A. Occurrence Subpattern 27a: Single Sonatas 169; 1. Occurrences ofSingle Sonatas in Venice 1749 and Parma I-III 169; The Terminal Clustering ofSingle Sonatas in the Sources 169; Two Potential Anomalies in AnalyzingSingle Sonatas 171; The Unusual Character of Couplet-Like Pieces 171; 2.Occurrences of Single Sonatas in Parma IV-XV 175; 3. Summary of theSubpattern of Single Sonatas 176; B. Occurrence Subpattern 27b: Types ofSonata Combination 177; 1. The External Retroactive Combinations of Venice1749, Parma I-III 177; 2. The External Concurrent Combinations of Parma IV179; 3. The Internal Concurrent Combinations of Parma V-XV 182; As CombiningBecame more Complicated, it Became more Efficient: A Paradox? 185; 4.Concluding Thoughts on Combinations 187; C. Occurrence Pattern 28:Combination Deconfigurations 188; A Secondary Change in the DeconfigurationRate 191; D. Summary of Patterns 27 and 28 192; Chapter IX: SomeChronological Implications of the Totality of Patterns 196; A. Broad-ScalePatterns and Chronological Order 196; B. Intermediate-Scale Patterns andChronological Order 197; 1. The Chronological Implications of Sonata Groups197; 2. The Mingling of Diverse Patterns in Sonata Group 22 198; 3. TheConvergence of Multiple Patterns at Sonatas K 264 and 265 199; 4. SubgroupsObserve the Boundaries of their Group 201; C. Detailed-Scale Patterns andChronological Order 201; 1. The Chronological Implications of TransitionalSonatas 202; 2. The Integrated Boundaries of Combinations and Sonata Groups202; 3. The Detailed-Scale Chronological Implications of the Sonata Order inSonata Group 22 203; 4. Members of Sonata Groups should be Contemporaneous204; Chapter X: Order and Disorder 205; A. Types of Arrays 207; 1. RandomArrays 207; 2. Simple Arrays 207; 3. Complex Arrays 208; A Caution 208; 4.Simple Arrays, Further Considered 209; Summary of the MethodologicalWeaknesses of Retroactive Sequence Arrangements 212; 5. Complex Arrays,Further Considered 213; B. A Methodological Background for ChronologicalOrder in Parma 214; 1. Sequence Order Explanations and MethodologicalProtocols 214; 2. A Premise Common to the Theses of Chronology, Organology,Late Combining 220; 3. The Chronological Thesis Versus Other ChronologicalProposals 222; 4. Summary Points 223; Chapter XI: Conclusion 225; Appendix I:Flannery Catalog of Scarlatti's Sonatas with Kirkpatrick Equivalents 231;Appendix II: Kirkpatrick Numbers in Parma's Order 245; Bibliography 247;Index 251