12 Gonder end he mail canon may have been away of keeping out women. The circular relationship between education and. product lusrates Barbara Herensein Smith's thesis that sructures of education, like anon, construct behavioral and evaluative paradigis that replicate them Selves and thus recondem thee own validity The respect accorded sqylstic compleiey after 1800 may rele fool a soc paical fabric tae war itelf becoming intesingly complex." To this postartocratie era there war grester pens ‘opportuni, but the porn was much more relevant omen than women, This diference could partially explain the interes of Rineteeneh-centary women in musial simply and thee fequent avoidance of complex musical suuctures lke symphony and oper. Many female composers and listeners seemed fo prefer musical simply, at leas as gauged by the many tuneful ones and piano ‘works composed by women. Sth works would be ensdered lower sence, parclaly if performed in private settings. OF eoure they ‘might be performed here just beesute ofthe simpler yl, a ell | for reasons of custom and acces. ‘The works might be asigned lsmisive judgment, for example that they do "not rie above ‘harming Salon musi” which appears inthe entry on Cécile Chaminade in The Neo Grose Furthermore, a1 noted in art, ‘women's attraction to more "natural" genres chow steing ‘elo, for example could be used to justly thee exchaion fom the higher ralme of “culture” This was likely to result in he perpecuation ofthe ideologies that could produce creative and Drofesional anbivalence in women, Sonata form sone ofthe mort important structural plans of the last 250 years But it hat often consoted more than an abstract Organisadonal theme, Some dexcrptions have included analogies ‘ith societal notions af mareline and feminine. Thete metaphor probably fist appeared in A.B. Marx's Die Levon dr mudi empositn (1843). An infivential how-to method, especialy in ite attenon tosonata frm, Marx's testise went through many editions And apparently teained che gendered deseription, throweh the fifth fio of (875, Hugo Riemann included the description in he fquestion-and-answer Ratehirmar der Maik (Again ue), fst isued in 1886, Ie appeared in subuequent editions 4 las Mase pended cre 33 through the rind of 922. Meanwhile, ip France, a voluminous anal on composition devoted considerable spare ta ronats frm Vincent Dad) Cours de campos matics (1909) took the gendered metaphor quite senously and used it as a bass of an fxtended dacunion of sonata form. I would assume that dhe tetaphor has appeared in many sourees Thave not consulted. But lest be inferedthatitfaded away in the early twentieth century, we should noes inclusion in the venerable encyclopedia, Dis Musi in Gach und Ggensr (0058), where it is mentioned in conneedon ‘with sonata fon in the asi on “For ‘These codes or rather the ideology represented inthe codes, have ‘nad considerable staying power. Bascaly the two themes ofthe exposition are set up a8 & hierarchy that exhibite sli erate ‘considered characteric ofan and woman, respectively. These are onsircte in varius ways as we shale, but the baie models ne fof ideological domination of man over woman. It seems to bean txtension of general societal notions af ideal man and idea woman find their proper relationship" Given that these were pervasive ideal, i not diel to understand why ached adopted them to make ceirpoins, Conversely ics no dificult understand Why they might have couched the power relationships of the two themer sn such a hierarchic manner: the themes temaeves were Apparently strongly imbued witha senee of oppositional dualism, as Inculeatedby contemporary notions afmale and male and probably by other duslisms a well Certainly iti posible to imagine sonata form described diferent, for example jn erms ofthe iecond theme ‘rowing out ofthe Rs, or in term of tonality, which was done in farly descriptions of the form. Today we tend to ignore gendered Sescriptions, Whether or not we belive in the ideology conveyed in the codes beside the point. Whats important isto understand their implications inthe hitoryofieas and theie potential impact on practice Derived fom binary form, one of the hie structural plans of he Baroque, sonata form served as the organizing prineple in the overuheiming majosty of fire movements of multsmovement Instrumental works inthe Clase and Romantic periods. In mdifed clothing italto underlay the fr movement ofthe concerts. Sonata form came ta be known Loeely as fret movement form” ("sonata allegeo form”) bersute of prevalence in that poston, It woud le appeat in the last movement, sometimes combined with the136 Gender end th miele rondo principle, orn modified form in another movement, Overt ‘ctenive hor) the form underwent changes. Th early descriptions {Only was the sain eiteion of struetare, wheress by the ei ineteenh century thematic treatment took on tat rele. Tonaliy ‘ar wl important of eoure, butt depended om is inks with the thet ‘We have noted how nineteenth-century society constructed stereoypesffemininty, and havehyporheszed tha such paradigms rove outa ned of the nvely emergent bourgeok society taser ind waintain social control over women. Sonata form Deeame a ‘ctaphor forthe gendered struggle, and once entrenched probably Med torenfrceand re contact hat gendered deoogy in Western ociety at large, Weare mainly talking about the Avsto-German rusia radon, wher the sonata aesthetic wasof great importance. Taher countries sonata form played a leser soe, Yet there were pockets of interest chewhere, For example, France at the en of he inecenth centry was influenced by Germanic ideals and D'Tndy’s Comprehensive teste comes out of hat climate “While Mrss deseipin of gendered theres appears to have ‘been the fsa ealer compositional treats ns at considerations Or'gender Antonin Reichae Tra de hate compotion munca, of {Ba6 ses he word "mere" fo the themes: Moti premiere ide mre" and =Seconde ge mre, dans x nouvelle tnigue” (no Comparable “pese” it ted). The term connotes signfcance and (geneauviy: that these important musical ideas give st 10 the ESment of the musieal dicouree oceupying the movement While the adjectival mere” could be aseibed merely co conventions of Fanguage, itis nonethlet highly suggestive, Maternal creativity [hnumes ontological signiance in a revered aesthetic, Mighs thi be ilaring exception for contradiction of the prevaling stereotype tiftamale eesti), ove tat debarr the femlebody asoriation| ote in her eildbearing capability im favor of exaltation of the Inlet kage? For more on thi ce Chapter 2, But however we {Tppromch the question, we might keepin ai thatthe concept of nother (or metherhood) i aot synonymous with the concept of Temate is merely one eaturlly constueted, potential atibute of femalenes,Petnaps Reich's wage represents an iealzation of he oneept much ike the Romantics "eternal feinine,” and in that Sense Funcioned as mean of ebjectiieation This could revut treater Ustance between women and their erative involvement in Mus a: gendered douse 135 sonata form, Inany cate, Recha’sexplanation of sonata form di nt include. gendered. dtinctions between masealine and fine themes; thts Mar’ contibusion some nineteen year late ‘Mann's description ofthe themes in sonata form Fads as fellows In this pi of themes. te main theme he Sin oe, thereore esta foremost the decive one im fones and energy, therfore the Oe ‘ousucied more enegetealy, to sgorowsy, more compels the ‘Somnath decive ove Te soba theme [Seems nue thera. servers cotat contracted aod determine’ by tht iectng nye cary he eer cated mr Buy {fan vigaouy =e nase a ene, th preceding masculine [a Tsp each fie ethene fren and ony wah thetker bears something bigher, more pec Man's concison seems tosugest model of oganicin. Yet the higher unigy embodied by the whole made up of par that are Cmgual ‘The Bt dominant deco, and prominent though folton, The second has leer agen andi dependent onthe st {ePvlgincy, Yet Mar gone on eo contract he impcatins of ths paragraph by sang thatthe hemes sre equal in portance nd fecite comparsle musa development. Perhaps id not Interpret Gcpendeneasineor stata thurs ite derepaney ‘etwte he to dsrpion, Te ao iteresting ote tat he {gendered metaphor eset almost as am aflerthought tothe musical SEIoatte Bu the gendered duality could have_ been fr GLRoona inser the ehararteries ofthe purely muse ‘eerpton TRctnn's depiction ther shorts Ara ralesonata form sid outwith a song, erate, fst cheme the eepesntatve of the atin sf pak a «conan feu second Ui, repeseting the feninine poeple eal in Siete bot reed lonsy Rirant rope the rane Saeal but sil peal in tern of opposition and duaiem Forte Tecapitulation be dscuses how "he second them lene in te ‘pein to the fist [oheme] by the assumption of the Tater's ttnaly or he aes pronation wth cane" This tenn ‘adavapuve Othe While iveeplicner eslogies cont tse ‘cles tad allo eietal practices hat in fct conteles women ‘Sonomically, pola, and sexually. Furthermore, Riemann’ ‘cone "imasulee pole” and "feminine principle” suggest Aeighienedesentiaizm tat warn fact m evidence atthe Ue196 Gonder andthe mai! an Di'tndy also makes eduction sateen His description intensi- fies the earlier taces of exert through a kindof philosophical Jusifeaion: an appeal to natural law. Because it is such an Interesting statement I quote tin fl “othe extent hat the wo eas expr and develoed in pees in sonata fae pret themselves one note nee dat hey realy Seve He Ting beng submited Yo ee eat we buoy Ug ot ‘nupay, atratton or repulsion, veo hte. Ads inthe perpen Sinfichieh rece the nf, tach lhe wo ea oe us ‘Separl oto whithhav hye ore sue respect Force and energy, concon and ay: sch are lot variably the ata mm characters: boning ote td kmpoe elit ‘nung, ang very nobly onal oenhipone and denne "he ads cots ene penal grease tment alas by means of veal ad medion wages of he “ines allarng nin nappa act pens Progr tecave oor me) ccaie nro ceaiy na seighoring tonality inthe count of he estonia sways depar from itn recapsatn in oder to spr he nay sep frm the being bythe dominant sine lament, alone Ie itera ee ato he development be ing [oneal geen td wentne haf bi wher by ven by pea ote ‘Sogo of the bing of nce ad pow ‘Stchseme tobe ens n soar inthe commana ie deri seer tor aceon wiht eyecare a oe ea ces ‘ete, sometimes een inverted is ie kind of nganicsm to: the theme ake on human qualities that fellow the laws of behavior. Here we see contingency sipped sway: this isan ideology based on ieutable authority. This ‘atric diferenc, and impli hat neers rat especially ogy define dentiy Like hs predeeory Dlady ell se se opposition asa fundamental reatonhip, Tam especialy intrigued by his remarks concerning the reapitation. Like Riemann he dlscstes how the tonality ofthe second theme's raved tothe toni [But the images of subminion, violence, and conquest hint a exval domination gone aery ~pouibly rape. While ts reading is inf teed by my own cultural contests with is greater awareness of physical abuse, sll he combination created by D'ndy ratte est fuoorand more likely suggestive of male sexwal conquest of momen, Violence is specially mentioned Overall, thin treatment of gendered themes is pechape more dual and oppositional than in Mari as gondrddsore 7 previous theorists. This may’ rec the fact hat ideologies of woman fs parsve and dependent intended as the century progressed Noneheles, the nal disclaimer sows awaren of sme practical Ailes. uno explanation roflered ae to how thiscan mesh with te refed ideologies of absolute male and absolute female just ddcuse. ‘As we jump some ity years into mi dserption of gendered themes in MG tary, we ee the illowing ‘wo fndamental principles of humankind are gen fam inthe wo main themes" the athe, exttveret, maul fst Dene and he gules Inverse eminine second theme’ [The sco theme]. abe all fppaed to det “subadary theme” [-Folgethem”) One af lose Independence, adapang nthe frst an ye a nea in expeeion ™ While rops the volenee of he D' Tey, tail eis on natural law for authority although to lesser degree. This description is not imtended as a historia statement of bow sonata form was described in the nineteenth century, Ie isa straightforward account of how the ‘working of sonaca frm are to be understod. Thi is pariculaely Striking given that che mnt ate wentith century the ideology fot gendered themes has generally heen ignored, or refuted on the rounds tha actual sonatas do not Behave that way, Charles Rosen, ferexample, attemps to discredit gender in sonata form by asserting that many snacas have yicl themes before bla hemes, ad there are “hermaphrodite” themes. While a gallant efor he strategy tends co afi rather than refute the notion of gendered themes An ‘Hfectiveertique fom this point of view might sset that gender has fplaceatallinthedispsiton of themes. The endensy ta ignore the feces may stem rom tcynicsm concerning the applicability ofthe Ietphor,or embarrassment over de intrusion of gender in “pure ‘musi. Whatever the reason, ie 4 mistake to ignore the codes history and historiography speak loudly agains cher soppresion, ‘They did exe and they ells a gent deal about the representation ‘ofwomen and men in society, how ideologies afected how musi sel wasconceptuaized and deseribed, and how mule hid claw es with ‘eal and process in society, We aio have to consider what elect ‘he perpetuation and circulation ofthese eolgis i marie has hae fon acu female pratisoners of music. ‘Thete are other aspect to consider in understanding the cleurl meaning of these readings of sonata form. A kind of double136 Gonder ond he asic anon legitimaton may be taking place. The appeal 1 widely accepted igunler declogie egtimateshow he analysis ofsonaa form i being Framed. Atte same time however the gendered iecogy tell furcer legitimated by asociaton witha forme of high sat, fad this especially relevant in DTady and MGG. The notion of Sas suggests hisoricam, Mars, Riemann, and D'—ndy were all hier of uadional practic ar ach seemed to tke it upon Simelfo serves advocse forthe paso propagat the igh vals ff « musial tation. This ot so much a comment on the siete descrpions pr but an cersatin on he genera conten. Eethich they ore found, In Macs and Riemann, Beethoven sclealy the referencal gure for sonata frm, and examples tom specie Bectowen sonatas ave sien: n'y, theresa enghy analysis of re "Tammeshiavier® Sonata, and thir includes indications of Irasculine and feminine themes This eae one could ares hat [Beetoven, more than the sonata, the eal topic of interest. Marx find DTndy way have lta ned to propagate thier fom the past In thee theory at east histericamn may bea majo impetss er coaiatons a onata orm. ‘Pedagogy ils pre eon forse eats, The D'Tndy, for example states that itis based on "noe taken in composton lass ‘tthe Schols Cantorum in 8gg-1goo "Ths ries the question of the purpose of the descriptors of sonata form. Are they mainly deals formula for theory students and hence removed from what feual compote are doing? Whi the answer incerta, 1 shigk {hathe respective author ater ground the theory ireal mac fitness he numerous Beethoven carples, Di thereat a sense cl'abuuaction fom seal practic only iatented through the incorporation of an ieolgy of gender that distin! from Ue ‘Epuience of actual people Once again, I Delieve that one of che ‘bteno in these dosrpeone sonal The depiction provide a Shean of upholding te gona sal values of the past. Whale de Tiategy probably a rescion to «perception of aesthetic destin, there may well be another eeatve strategy at workin the gendered ‘decriptions. Tt could be motivated by afar ofthe feminization of fuse Around the time Mars and through the nineteenth centr Tyre and expresivty became prominent through the music of {Chopin and ents, pareuarly nthe ehareter piete.To some this Jmigh be perceived asa feminine auton the mascalnity inthe tmusc and persona of Beethoven an ober, and by extension onthe asics gendred dice 139 masculinity ofthe (monly male) practionersthemaelves, A Tink tetween a revered form-ype, especialy i ters of Beethoven, and fr Meolagy of maiculine dominason could help preserve male Contol of music and what were thought ofa masculine values in mos style, Tt could have the practical result of keeping women practioner in subornate role and dependent on men, ‘Asariclated inthe nineteenth century, the two themes of tonata form with thet respective gender asoratons sll carted particular tonal functions. The tonal fancione of toni key and other key (or ‘thers uggeted bierarchial relationship, even ifthe structural implications of that hierarchy were not as cruial to the basic tthei ofthe composition at they had een eae. I's igiicanc thatthe key ef the masculine fr theme, oF principal theme, rerains {tonal hegemony thoghont the movement, whereas the tnally Saruptve female theme, or subordinate theme is chastened, 50 (0 Speak inthe ecaptlation at finds is proper place within de tonal ‘phere ofthe masculine fire theme. How ion thatthe rypieal key tthe fst appearance ofthe feminine theme atleast in tajor-key Iovemens, alld the dominant, for inthe end the dominant i ‘bordinate, As the Riemann and DrTndy endings gees what ha ihappened i that the mae tonal principle, situated in he home key, havvamerted tis dominance over the darupive female element located a contrasting ey: eiomph of masculinity, In terms of Fresian metaphor, te Ick" embeded nthe feminine theme in the oxpesiton =i lack ofthe more" acve” musial tats of the Inascline thee aid is lac ofthe overall idemiyng tonality — i fhow partially compensated for by se iafsion with the tonality {ocated with the mascaline st themes “To view the situation from another perspective, the narrative Simpleaons of gendered sonata form pot an Orer who hast be Teed in to dominant discourse to thatthe movement can regain ‘tablity and necessary clonure The tonic ofthe masculine must close the movement otherwise deeply inculcate patterns of narrative tise wll be Irstrated. As Susan MeClary has pointed out, such (lores must nt be denied and thas he feminine has o be sacred, tsitwere# She believes that Western art music seems to have a need for the consuction of an Other within a work, whether i be fasodated with the feminine or some other object of ideological Sbordinason, While I'stn not prepared to comment filly op the theory here itisigefcant that nthe ease of sonata form what could0 Gideon he music enon be considered an element of maical Otherness i infused! in many eadings with the label feminine and ll the semiotic baggage that ‘hat bears in sociery at lage. Consent with MeClary's larger thes this Other must be wquelehed so thatthe inexorable dominance ofthe tonic emerges as vitor. This isa given of Western music, a eas before Maer. Perkape the territorial ipesalism, ast wee, of the masculine over the feminine rept contemporary expansionist desires inthe West. In addition the inevitability f the drive to tonal tlonure as a result ofa perfecting” proces, a expression used by Diindy, may: mircor contemporary ideals of progres and evo onary development, tis inceresting that MeClary adopt militaristic metaphors ata shetorical device to describe what she consider to be’ a violent Iasracve proces, We have seen how gendered readings of sonata {om employ oppastion asa basi conceptual strategy. ‘This kind ot language also appears in more recent eerencs fo sonata fort. For fxample, German musicologist Ent Meyer, in a Marxist eritique, characterizes the replacement of two opposing themes fr the mort ‘monotheraiic practices ofthe Baroque asa representation of an aggresive spirit inthe ring middle cas, In 0 Charles Rosen writes that the exposion presents the chematic material and antculates the movement ftom one to dominant in various ways 30 thac it takes on the character ofa plarizition or oppenition. The ‘essential character of ths oppoiton may be defined ss largeseale disonance."* At times a competitive tone colors the rhetoric Donal Francis Tovey observer that transions in J. G. Bach have ben witlydesribed as" presenting rn to che new key" James Webster claims that one can olen view the arrival of the Ye ‘capitulation “asa eiumph overdifieuties™ By difcaltes Webster is eerring co the tonal and thematic confts waged in the development section, which can be considered an intensification of "he tonal-thematie-sexual polarization othe exposition ‘What happens to these accumulated confice in the eecapi lation? Some writers view the recpislation much like » Hegelian site of synthesis” On this view, the contrat introduced in the exposition between the two keys and between the masculine and feminine themes are succeafly resid, presumably. mainy through the toniczation ofthe feminine theme, But one wonders whether cha tonal proces actually constitutes Hegelian resolution, for Hegel proposed a synthesis that fone smmething new out of Musica ade dicot un tlements of the original two enies, In sonata form, however, the feminine theme in the recapitulation remains largely intact but now stands within the masculine wonalty. A ee synthesis into = new fnty, such as a tonality mediating between the orginal tonic and dominant of the two themes, har not taken place. Ta view the situation another way, the feminine theme entered the movement in second poston, na second key. Asimpled in A.B. Mare, although Stated quite diferendy, given temiaie and ontalogieal meanings of openings the feminine (heme may be domed 0 compromised ‘But beyond the ideological mesage of feral subordination, the ‘question has tobe asked, again, sv what body or bodies of muse assumed in the codes. Ar mentioned, the target could be student Feplcatons of existing prototype, expecially piano. sonatas by Beethoven. Because the codes apply toceiin pes ony and not to many others, they do seem lke an idealized abstraction, ‘Theit inconporation of ideological repretentation of tat) and woman futher underscores the abstract level on which they operate. Thus, the extent to which they do ae do not apply to any eiven sonata becomes somewhat moot To fame the ise nother way, we might sy that the fact that there are so many sonatas that do fot exhibit masculine and feminine themes according tothe eats does not at undermine the "validity ofthe gendered themes It they were ‘ot designed inthe fst place to apply to mot auto real music, then not having them in sven piece does ot undermine them. To repeat what was sid eater, these codes are “real” in that they ‘xsied as an embodiment of deologieal representation of man 3 ‘woman, We may not agree with che content of the ideology oF its applicability to actual pieces, but they exited nonetheless a fel phenomenon in the history of ideas and are this important Furthermore, representational codes of masculine and feminine my also apply 0 other kinds of pieces but not formalized as sucht viking Sonata form functions asa major component of larger concept thesonata aesthetic By sonata aesthetic ineana composites ta encompases sonata form, the sonata as gente, at the mad works that tlie sonata form in one or more movements Such ompostions, generally multimovement, can belong to @ hort ot «ares, including symphony, concert, snd chamber tusic. Having helped displace the spremacy af val muse the sonata aenthetieMe Gender od he sil soe has carved enormous semiotic meaning ever since. In the early part Oi ie nineteen century, pray i= Cermany, writers and Therat contracted the mth of autonomous ssi. Autonomous sre could ancend he vag of daly extence beter than any Teor and eatapult ceator and listener into some timeless, fisctian real of pure aesthetic contemplation. Without the UReetence of tent and fed mesings, such muse amounted t an bodiment of the absolute ence the frm (although i was not (Slick ns undl Wagner coined the term) "While Romantics denied fhe‘ extenee of content in the Kinds of msc they. considered “isolte, thy smuleaecly elevated the concep of pure ea” tefinlereaity ("Gesighe) that the considered the hear of ech masta Inthe quest for wanscendence, absolute music placed emer thy ehe higher faults of the mind. Tn this regard i. SHimed the ieslogy ofthe mind-body dalam and the resultant evaluator of the Wody.* Connoations of body te in with the flrnnne and withthe debasing and morally Teser associations of {Enulerecualiy. ‘The potion fable mes Dhereore, has acted as tr ingenious means of elvan the masculine notion of mind while SUindsame tne suppresiog the bd sexo, andthe feminine” Teall ngenios because has done sounder the guise of professed utonomy ont uneerlyng socal eferentaty and chus made ie eenda hat much more suble an iia to en. Yet the metaphor gendered hemes sit petans oan important supect of thsclue muse indicates + breaking of the decorum of ‘Mitience How imereing that sori red 10 oct ‘esogy to expen the sana elaonsp, OF cure, atthe same tine ha the merits of sbclatenes were praised composes tained the deal with poetic iden end these i prograrymatic musi ‘Tinea together tse sugges contaditrydesres swell pb Tsbtance to the noon of absolute musi. As imped above, i {Emporance ry be more ar an aesthetic ideal than as a viable foundation for ststained composition. Trowealy theses! wa ao sled bythe exaggerated rhetoric ured desc Early Romantic such 8B, T- A, Hofmann and Tunwig Tek, adopting the devotional Iyperbole of Wackenroder vers of1 997 and yoy secme to contradict the desired goal Genegheit trough ir guing excets in praise oftheacsthes “Thoseetan obvious insertion of ensoss contemplation, of de body. ‘Wasa aangercsly ie touching fhe amine? Was the chee Masi as gee dsoase 43 sero recogrized ltr in the cenry and» result rejected as tere Romane excess? Perhaps easly Geran Romans expressed tore of feminine component than thy were aware cl Ad fonteguems since the notional able mu eed ore om Shore than ineren quale, 2 emnied shore Could ner tine the invilabity fabslute musa well fw autonomy The hyperbole bore asrong devsoal tne and muse beg assume the eviouses of relgousexpeence Not ony dd the locale dnd ccomsances of performed muse undetge charge, but so force were tanorted fom aed calepees to divin inspired creator removed Gum everyday sce Assoc Wey were ‘epcating God the creator These mal erodioens of sae felon that cropped up around 1800 cloned asa veplacerent tothe detnig power offal sion nds served tind of instal anchor the soil vaentonef the aig mile das These prcese legitimated male nirers In he composes rey ronal identicaion with Gog, the male compar was the sumed Parcipant for only @ male could ens with rale Go he, nt he eas cteated in His mage. Women composes, would be ‘nea horaly excluded from the alish phan on art-areligion isthe fehl ofthe nineteenth century "This acarded wid he very practical eonsidvaton f wore’ ngtanding exon fra renee and instational power the Church. “The wansendence weted in abssute muse alo connoted = mmevphysealabity to anspor one to the inte beyond a Ev Not ony ht pre nk wih te yoo ale suggested pscholagesl profile open ta eaching st bye immed beundare, Carl Gilgen hype that le pes Inga development in the West has tpealy flowed corse vl th boy breaks aay front the mtber snd the male wot she pens Whe enecanguson espa trl ronauncemens to » pavtclar cuter conte eopecaly when inte, Giligans theories ae noethles ul for ayng out ome {tnerl lines of development event me aenovedge tat they see ‘ject to historical ening” Ciigen lame hat thy ‘tempo beak thesrong infil ink by fing hit ent teyond the frat envionment nso doing eis encting on ny te eon "Cam of tecaton fare ena ae ‘pplrcon and -quet though the validation tert” a inivdualinn. In capalti rots ke the Unied Sat, is at —Ma Gendr andthe mssclcanon been enforced dough the ial of unlimited opportunity forall. tn practice, however, mimerou structural constrain, including ace, fender, and clas, play a not inconsiderable role in extiting ‘opportunity. But fr the boy, eanscendence and quett come to be natural and comforable. The ehrer great literary theme af Don Juan, Faust, and Don Quixote, for example, exprese thee rom Various perspectives. Tn ausmlar way, the ethos of absolut muse embodies che pavchologicl path of quest and transcendence lai ot for the male. The white, Wetem female, ofthe other hand, ha tended to idemify with her mother, her prinary mutter and ale female, and therefore Tes ler need to transcend the word represented by her mother or reach out into the infin. Meaning and identity might be more readily ond within the complex signs associated with mother and othe females ™ Consequenly, the thos ‘fabsolute music might be more unfamiiar and alien, and posibly ven repugnant, Yer the ining and musical scialization of actual women composers would probably ial a respect for absolute music Many Wwomten have wate pieces of absolute musi, although notin gest ‘numbers: One ofthe mor intreing works i the Paso Sois, Op 21, by Cécile Chaminade, published in 1895, In the following discustion we focus on the fist movement. In this exploration of Pest I suggest tha the wark may reeonceptualize the ideologies ‘tmatculine and feminine at encoded in gendered readings af sonata form, By choosing a work by 2 woman T am not implying that suck ‘challenges are availabe aly to women. On the contrary thy are available w any composer, male or female, Nor ar I suggesting shat there is some exentialit lationship between 4 woman comporet And womanas-Other in the codes of sonata form, What tam Suggesting that this isa work that exhibits distinctive Behavior ia ite treatment of themes, and thie could signal a reconfiguration ofthe ideological relationship between masculine and leminine. No ube there are many sonata movements in the aineteenth century, including many by men, that coeld be analyzed in his way. The Cat ‘hat they have not been approached from this standpoint docs not mean that they do not mount similar challenges, But gen the ‘makeup ofthe current eanon, {believe itis especially vital wo place ‘women's work ino analyte discourse. And Chaminade’ work sone ofthe ew sonatas by worten comptes thats readily available score as wall as recording®” Bu beyond altuis, avalbility, and Matic as gerd disse 5. ‘he fact that it i fine work, another reason fo fecusing on a work by a woman is the posibigy cat the subject poriews oy socialization of worien may infect their challenger to codes ot representation, This potetal relationship & compley, Sod net swchout methodological ri Yetitratesimportant ies thar might help ws understand why some wotten composers seemed tony net from absoluce forms. Thi, i ur, hae a bearing oncanoa formacnn Restrictions in acest and education are important eomidcretenn of course, bur this discussion may suggest more subd factors as This analysis an exploration af posi: the psi chat che fic movement challenger the epcentatonal mel eda «xcoded in masculine and feminine in vnata form, Tissot ae ssan explanation that accountaer everything at goeson many in the movement, nor even everything that might be conor to sean’ pecs fh ne To ra exten os these are matters ofjudgment. Bo what Lam eying saohone ee {hat this reading is meant aan added lar of mesning eee capable of many interpretation and analytical Bamegoke Tet posible, perbapr even llely, that it may partly soma Innprcant ways of viewing the work But I do no neces ths a drawback, I ft, itean be an advantage fort pera ono vew the work asa comples eld of sper divers hats novia, als asthe and Weslogcal Labo undertane ae semper mull of intrest mine, made Tom the ante point ofthe present wl be quit diferenly grounded oe thos ten, ily or one minded years aricr. These sy tor age detailorinbatc approach yetcachinaseneisscotrec The one ‘scorched, a i were, trough the varied sande of sanity and this can afc our views om how pices become semen eed There are ifficuies in anaysing an instumenta work in terme coe of repretentation One inva a potential conic kee {hee analytical implications Aly of aeaed “comunee te ce instrumental works ht typically reed the structure neces ‘musicales; harmonies, tonalite, and inlaries an ieee among themes have formed the bass ofthe approach Pere a