{"title":"Haydn’s impropriety","authors":"Naomi Waltham-Smith","doi":"10.1215/00222909-4450660","DOIUrl":null,"url":null,"abstract":"Haydn is known for his playful (mis)use of cadential formulas. Examining examples of this predilection and processes of cadential liquidation, this article develops a theory of the use of musical material. This entails a deconstruction of the Adornian dialectic between generic convention and particular expression and—following Jacques Derrida’s notion of exappropriation—between proper and improper, and propriety and impropriety.","PeriodicalId":45025,"journal":{"name":"JOURNAL OF MUSIC THEORY","volume":"14 1","pages":"119-144"},"PeriodicalIF":0.7000,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"7","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF MUSIC THEORY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1215/00222909-4450660","RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
Haydn is known for his playful (mis)use of cadential formulas. Examining examples of this predilection and processes of cadential liquidation, this article develops a theory of the use of musical material. This entails a deconstruction of the Adornian dialectic between generic convention and particular expression and—following Jacques Derrida’s notion of exappropriation—between proper and improper, and propriety and impropriety.
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