Akademik Veri Yönetim Sistemi
Yegah Musicology Journal, cilt.8, sa.2, ss.819-837, 2025 (Scopus)
Recent classification studies on sentence and periodic structures commonly found in Classical Western music generally focus on the different types of these structures within themselves. Some of these studies seek to answer questions such as under what conditions a formal structure can be defined as a sentence, or in other words, how many ideas constitute a sentence, and whether the presence of a cadence at the end is a necessity or not. As a result, new sentence types have been proposed. Although periodic structures tend to have fewer exceptions compared to sentence structures, there are still some disagreements regarding their harmonic goals. In this study, sentential and periodic structures are categorized separately based on their lengths. By proposing a name for each prototype length, a method of determining formal expansion is suggested, which is applicable to both periodic and sentential structures. Four classes for both sentential and periodic structures were introduced and the paradigm of formal structure analysis was extended by theorizing the determination of which of these classes the analyzed structures belong to. By analyzing the instrumental works of Bach, Haydn, Mozart and Beethoven in the Common Practice Period, the works in which the eight prototypes can be seen most easily were exemplified.