ABSTRACT
Conceptions of musical form have tended toward “space-like” models historically; while in the twentieth century, “time-like” or processive models have been used to formalize pitch structure in tonal music. The concepts of form that recent authors consider fundamental do, however, have temporal implications that are suggestive for processive models of form.
The paper discusses these temporal implications of formal concepts, especially the concepts articulated by Roger Sessions in his two books. The Musical Experience of Composer, Performer, Listener and Questions About Music. And, after defining some features of a temporal approach to form, it presents an analysis of the first movement of Sessions’s Third Piano Sonata (1964–65) as an example.
